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The   Teacher,   the    Choir,   and    the    School 


BY 

EDMUND    G.  HURLEY 

ORGANIST    AND    CHOIRMASTER    OF    THE    CHURCH    OF    ST.    PAUL 
THE    APOSTLE,    NEW    YORK    CITY 

MUSIC  LIBRARY 

UNIVERSITY  OF  CONNECTICUJ 

STORRS.  CONNECTICUT 


^^ 


New  York:    G.  SCHIR^TER 

1907 


-b 


Copyright,  1907, 

BY 

G.   SCHIRMER 

/  /  67^- 


18794 


stanhope  press 

F.       H.       GILSON        COMPAN' 
BOSTON,       U.    S.    A. 


PREFACE 

On  the  feast  of  St.  Cecilia,  November  22,  1903,  His  Holiness,  Pope  Pius  X., 
issued  a  Motu  Propria  on  sacred  music,  in  which  we  find  the  following  words  con- 
cerning the  Gregorian  Chant : 

"  The  Gregorian  Chant  has  always  been  regarded  as  the  supreme  model  for 

sacred  music The  ancient  traditional  Gregorian  chant  must,  therefore,  be 

largely  restored  to  the  function  of  public  worship,  and  everybody  must  take  for 
certain  that  an  ecclesiastical  function  loses  nothing  of  its  solemnity  when  it  is 

accompanied  by  no  other  music  but  this Special  efforts  are  to  be  made  to 

restore  the  use  of  Gregorian  chant  by  the  people Whenever  then  it  is 

desired  to  employ  the  high  voices  of  sopranos  and  contraltos,  these  parts  must  be 

taken  by  boys,   according  to  the  most  ancient  usage  of  the  Church In 

seminaries  of  clerics  and  in  ecclesiastical  institutions,  let  the  above-mentioned 
traditional  Gregorian  chant  be  cultivated  by  all  with  diligence  and  love,  accord- 
ing to  the  Tridentine  prescriptions,  and  let  the  superiors  be  liberal  of  encourage- 
ment and  praise  toward  their  young  subjects Let  care  be  taken  to  restore, 

at  least  in  the  principal  churches,  the  ancient  Sc/wlce  Cantorum,  as  has  been  done 
with  excellent  fruit  in  a  great  many  places.     It  is  not  difficult  for  a  zealous  clergy 

to  institute  such  Scholce  even  in  the  minor  and  country  churches We  do 

therefore  publish,  motu  propria  and  with  certain  knowledge,  our  present  Instruction^ 
to  which,  as  to  a  juridical  code  of  sacred  music,  we  will,  with  the  fulness  of  our 
Apostolic  Authority,  that  the  force  of  law  be  given,  and  we  do  by  our  present 
handwriting  impose  its  scrupulous  observance  on  all." 

Commenting  on  this  subject  the  Apostolic  Delegate,  Archbishop  Diomede 
Falconio,  says  :  * 

"  After  this  formal  declaration  issued  about  two  years  ago,  what  would  one  be 
led  to  think  of  some  pastors  who  have  not,  as  yet,  made  a  single  move  toward  the 
desired  reform  ?  .  .  .  .  What  is  the  cause  of  this  aberration  ?  ....  It  is  said  that 
it  is  difficult  to  follow  out  our  Holy  Father's  instructions." 

The  present  little  work  is  published  in  the  hope  that  it  will  remove  some,  at 
least,  of  the  difficulties  which  beset  the  pastor  or  choirmaster  who  is  anxious  but 
unable  to  carry  out  the  instructions  of  the  Holy  Father.  Great  care  has  been 
taken  throughout  the  work  to  have  the  explanations  and  instructions  written  in 
such  a  manner  as  to  bring  them  within   the  comprehension  of  those  who  are  to 

*  Introduction  to  Manual  of  Church  Music,  Rev.  W.  J.  Finn,  C.S.P. 


iv  PREFACE 

sing  the  chant.  The  book  is  self-contained,  having  sufficient  material  in  its 
copious  exercises  and  examples  to  train  up  a  choir  without  needing  to  place  other 
books  in  the  hands  of  the  singers,  which  is  always  an  inconvenience.  The  only 
exception  to  this  rule  is  Chap.  XV.  As  this  chapter  is  explanatory  of  the  notation 
used  in  the  new  Vatican  edition  of  the  liturgical  music-books,  the  student  is 
supposed  to  have  the  Gregorian  notation  edition  of  the  new  Kyriale  before  him. 
The  proper  time  for  this  is  after  Chap.  VI  has  been  mastered.  As  a  guide  to 
the  use  of  the  Kyriale  we  suggest  the  following  order  in  which  the  various  pieces 
may  be  studied  : 

Kyrie  :  XII,  XI,  VIII,  IV,  IX,  etc. 

Gloria  :   XV,  X,  VIII,  IV,  I,  II,  etc. 

Credo  :   I,  III,  IV. 

SanctHS  :  XVIII,  XIII,  VIII,  IX,  XVII,  IV,  etc. 

Agmis  Dei:  XVIII,  IV,  XVII,  IX,  etc. 

While  it  is,  of  course,  proper  to  have  the  whole  Mass  sung  according  to  the  rite 
of  the  feast,  this  rule  may  be  relaxed  in  the  case  of  a  new  choir,  and  the  easier 
settings  learned  first. 

When  you  start  your  new  choir  class,  don't  waste  time  in  trying  the  voices  of 
the  boys.  Get  as  many  as  you  are  able  to  handle  easily,  and  start  them  all  on 
the  first  exercises.  Boys  may  be  taken  as  soon  as  they  are  able  to  read.  You 
will  soon  find  out  whether  you  have  any  one  whose  ear  is  deficient,  by  his  not  be- 
ing able  to  follow  the  tune.  You  may  have  some  boys  who  try  to  sing  an  octave 
below.  These,  and  those  whose  ears  seem  to  be  defective,  should  be  taken  out 
of  the  main  class  and  worked  with  separately  for  a  time  before  you  rinally  decide 
whether  you  will  retain  them  or  not. 

The  choir  should  have  a  comfortable  practice  room  —  one  which  is  used  for 
no  other  purpose.  Besides  the  seats,  coat  and  hat  hooks,  book  closets,  etc.,  you 
should  have  a  blackboard  and  a  grand  or  square  piano,  which  should  be  always 
kept  ifi  good  order.  An  upright  piano  is  not  suitable,  because  the  teacher,  when 
using  it,  must  necessarily  turn  his  back  to  the  class. 

As  Gregorian  chant  can  be  sung  intelligently  from  its  own  notation  only, 
don't  get  editions  of  the  chant  books  in  modern  notation. 

If  you  do  so,  you  will  have  to  teach  your  singers  to  attach  to  the  various  signs 
meanings  which  do  not  belong  to  them ;  and  when  you  come  to  the  study  of 
modern  music,  all  this  work  will  have  to  be  undone. 

Don't  send  your  new  choir  into  the  church  before  it  is  properly  prepared  for 
the  work  expected  of  it.  The  time  required  for  the  preliminary  training  will,  of 
course,  depend  a  great  deal  upon  the  quality  of  your  raw  material.     At  any  rate, 


PREFACE  V 

you  must  not  expect  too  much  at  first.  If  you  have  had  a  professional  quartette, 
you  will  find  that  the  individual  singers  have  probably  spent  years  in  study  before 
they  came  into  your  choir  ;  and  if  you  have  had  a  mixed  chorus,  you  must  bear 
in  mind  that  girls  generally  get  more  opportunities  for  musical  culture  than  boys ; 
moreover,  the  voices  of  girls  and  women  come,  as  it  were,  ready  made,  and  you 
can  go  on  with  their  training  without  having  very  much  to  undo.  With  boys,  the 
case  is  very  different.  Their  voices  have  almost  invariably  been  spoiled  by  their 
habitual  shouting  and  loud  talking  generally,  and  must  be  made  oi^er  before  you 
may  hope  for  any  good  result. 

The  musical  equipment  of  the  choir  before  it  enters  upon  its  duties  in  the 
church  should  include  at  least  the  following,  all  thoroughly  learned  and  well  sung: 
Two  complete  Masses ;  the  Asperges  ox  Vidi  aquam ;  \}L\.t  Responses  iox'^x^  Mass 
(including  the  proper  chants  for  the  Deo  gratias  as  given  in  the  missal) ;  one  set 
of  Vespers  *  with  the  antiphons  and  hymn,  which  may  be  used  every  Sunday  until 
the  proper  Vespers  can  be  sung;  the  Responses  for  Vespers;  the  Antiphon  of 
B.  V.  M.  for  the  current  season;  the  Tantiim  ergo  and  some  other  pieces  for 
Benediction  ;  and  the  Requiem  Mass. 

The  Proper  of  the  Mass  may  be  recited  on  one  tone  by  two  of  the  singers 
accompanied  by  the  organ  ;  but  as  soon  as  the  singers  are  able,  it  should  be  sung 
to  its  proper  chants,  of  which  the  Introits  are  generally  the  easiest  and  should  be 
introduced  first,  then  the  Communions,  the  Offertories,  and  last  of  all  the  Graduals. 
None  of  these  chants  present  any  greater  difficulties  than  are  to  be  found  in  some 
of  the  Kyries. 

Don't  commence  the  study  of  modern  music  until  your  singers  are  able  to  read 
chant  quite  fluently;  for  having  learned  all  about  the  intervals,  staff,  etc.,  they  will 
find  very  little  difficulty  with  the  measured  notes.  Don't  let  any  one  sing  by  ear. 
Insist  from  the  very  first  on  having  every  note  read  and  understood,  and  in  a  very 
short  time  your  choir  will  be  able  to  read  almost  any  ordinary  music  at  first  sight. 

Don't  be  in  a  hurry  to  start  singing  in  parts  before  you  have  a  good  repertoire 
of  unison  chant.  You  may  then  harmonize  the  responses.  After  these  are 
learned,  you  may  harmonize  the  Gloria  Patri  at  the  Introit,  the  melodies  of  which 
are  given  in  this  book,  commencing  at  page  41.  These  should  be  used  even  when 
the  Introit  is  recited. 

Get  a  good  book  of  English  hymns  set  in  four-part  harmony.     The  hymns  may 

be  used  for  processionals  and   recessionals,   in  non-liturgical    services,  and  in 

assisting  the  congregational  singing. 

Edmund  G.  Hurley. 

*  This  may  be  either  the  Vespers  of  the  Holy  Name  of  Jesus,  or  the  common  of  B.  V.  M.,  but 
not  the  common  Vespers  of  Sunday. 


TABLE    OF    CONTENTS 


CHAPTER  PAGK 

Preface  iii 

I.     On  Musical  Sounds,  Pitch,  and  the  Staff  i 

II,     The    Modern  Major    Scale ;    First  Step  in  Choir-training ;   Voice- 
training  2 

III.  Second  Step  ;  the  Clefs  :  Voice-training  6 

IV.  Third  Step,  completing  the  Scale  ;  Bars ;    the  Guide  ;  Changes  of 

Clef  9 

V.     Fourth  Step:  Singing  Words  to  the  Chant;  Pronunciation;  One,  Two, 

and  More  Notes  to  One   Syllable  ;  Fourth  Step  :  Voice-training  1 1 

VI.     Fifth  Step  :  On   the  Use   of  the  Flat ;  the  Natural ;  Exercises  and 

Examples  ;  Changes  of  Clef  ;  More  Difficult  Examples  of  Chant  i8 

VII.     The  Voice  ;  Registers  of  the  Voice  ;   Choir-training  Exercises  27 

VIII.     On  the  Gregorian  Modes  ;  Authentic  and  Plagal ;  Diagram  of  First 

Eight  Modes  35 

IX.     On  the  Characteristics  of  the  Gregorian  Modes  38 

X.     On  the   Six  Transposed  Modes  47 

XI.     On  Psalmody  ;   Psalm-tone  (Intonation,  First  Reciting-note,  Media- 
tion,  Second    Reciting-note,   Termination)  ;    Festival   and   Ferial 

Tones  50 

XII.     On  the  Rendition  of  Chant ;  Neums  ;  Chant-Dialects  57 

XIII.  On  the  Accentuation  of  the  Neums;  their  Growth  and  Derivation  61 

XIV.  The  Accentuation  of  the  Modes  66 
XV.     Notation  of  the  Vatican  Edition  of  the  Liturgical  Chant  Book  73 


CHAPTER    I. 

Musical  sounds  differ  from  each  other  in  Pitch,  in  Duration,   in  Force, 
and  in  Quality. 

By  the  pitch  of  a  sound  is  meant,  whether  it  be  a  higJi  or  a  low  sound ; 
that  is,  whether  it  be  the  result  of  a  higher  or  a  lower  number  of  vibrations 
in  a  given  time. 

A  Note  is  a  character  which  represents  a  musical  sound.  We  can  see 
a  note  and  Jiear  a  sound. 

The  pitch  of  a  sound  is  shown  by  the  position  of  the  note  representing 


it  on  a  set  of  four  or  five  lines  ;  for  instance,  *  or    o. 

-^ 

In  each  of  these  examples  the  first  note  represents  a  lozver  sound  than  the 
second. 

The  set  of  lines  upon  which  the  notes  are  placed  is  called  a  Staff. 
Four  lines  are  used  for  the  Gregorian  staff,  and  five  for  the  Modern. 

The  pitch  of  sounds  may  be  absolute  or  relative.  The  letters  A,  B,  C, 
D,  E,  F,  and  G,  are  used  to  denote  the  absolute  pitch  of  sounds,  and  the 
syllables  Do,  Re,  Mi,  Fa,  Sol,  La,  and  Ti,  or  the  numbers  i,  2,  3,  4,  5,  6, 
and  7,  the  relative  pitch. 

The  absolute  pitch  of  a  sound  is  determined  by  the  number  of  vibra- 
tions in  a  given  time  which  are  necessary  to  produce  that  sound ;  thus.  Mid- 
dle C  on  the  piano  is  produced  by  a  string  making  256  vibrations  in  a 
second.  ( This  is  what  is  called  Mathematical  pitch.  The  pitch  in  common 
use  is  somewhat  higher,  namely,  261  vibrations,  and  is  called  International 
pitch.) 

Relative  pitch  is  determined  by  the  proportion  existing  among  a  series 
of  seven  sounds  which  we  call  a  scale.  The  Gregorian  Notation  deals  with 
Relative  pitch  only,  and  does  not  show  Absolute  pitch, 

~~"  "  Various  scales  have  been  used  at  different  times.  Gregorian  Music 
■uses  fourteen,  and  Modern  Music  two.  If  we  arrange  the  numbers  or  sylla- 
bles representing  the  scale  around  a  circle  having  twelve  equal  divisions  like  a 
clock-dial,  we  shall  find  that  we  can  construct  all  scales,  both  ancient  and 
modern,  bv  taking  each  number  in  succession  as  the  point  of  departure. 

(I) 


GREGORIAN    CHANT. 


For  example,  if  we  take  i  or  Do  for  our  point  of  departure,  we  have  the 
Modern  Major  Scale;  if  we  take  2,  or  Re,  we  have  the  Dorian,  or  First 
Gregorian  Mode  ;  etc. 


CHAPTER    II. 

The  scale  selected  for  our  first  illustration  is  the  most  familiar  one,  the 
Modern  Major  Diatonic  Scale. 

This  scale  consists  of  a  sound  called  the  Tonic,  or  Keynote,  and  six 
other  sounds  ;  each  of  which  bears  a  certain  fixed  relation  to  the  keynote. 
If  we  sing  or  play  these  seven  sounds  in  succession,  the  ear  is  not  satisfied 
until  another  sound  is  added.  This  sound  is  a  higher  replicate  of  the 
Keynote,  and  is  the  beginning  of  another  similar  series.  The  vibration-rate 
of  this  eighth  sound  is  exactly  double  that  of  the  keynote. 

These  eight  sounds  are  named  by  the  syllables  Do,  Re,  Mi,  Fa,  Sol, 
La,  Ti,  Do' ;  or  by  the  figures  i,  2,  3,  4,  5,  6,  7,  8. 

The  pupil  should  accustom  himself  to  use  both  figures  and  syllable- 
names  in  reading  the  notes,  before  singing  them  ;  as  it  cannot  be  too 
strongly  impressed  upon  the  mind  that  the  syllables  do,  re,  mi,  etc.,  mean 
nothing  more  than  the  figures  i,  2,  3. 

The  names  of  the  scale-notes  should  now  be  thoroughly  learned,  both 
by  figures  and  syllables.  After  the  class  has  read  and  memorized  the 
names,  both  forwards  and  backwards,  the  teacher  will  call  out  the  syllables 
at  random,  and  the  pupils  must  give  the  figure  corresponding  to  the  syllable 
called.  The  teacher  will  then  reverse  the  method,  calling  the  figure,  the 
pupils  answering  with  the  syllable. 


GREGORIAN    CHANT.  3 

Fig.  2. 

Do'  — 8  or  I  The  Modern  Major  Scale  consists  of  eight  sounds  differ- 

'■^    "■  7  [iig  from  each  other  in  pitch,  of  which  the  i  st  and  2d,  2d  and 

l-       ^  3d,  4th  and  5th,  5th  and  6th,  and  6th  and  7th,  are  separated  by 

the  interval  called  a  Whole  Tone  ;  and  the  3d  and  4th,  and  7th 
Sol  — 5  and  8th,  by  the  interval  called  a  Semitone.     The  semitone  is 

,     the  smallest  interval  used  in  melody. 

Mi 3  The  intervals  of  the  scale  must  now  be  learned. 

The  teacher  should  draw  diagram  Fig.   3  on  the  black- 
"■^       ^  board  and  point  on  it  the  names  of  the  notes  of  each  exercise, 

j)q  . J  singing  them  softly  as  he  points  ;  the  class  meanwhile  listening 

attentively.     The  class  must  then  imitate  the  teacher's  pattern 
as  he  points  out  the  names  again. 

This  plan  should  be  pursued  with  all  the  other  diagrams  introducing 
new  sounds.  The  teacher  should  not  sing  with  the  class.  The  pattern  should 
always  be  imitated  softly,  thereby  rendering  any  mistake  easier  of  cor- 
ifection. 

FIRST  STEP.     Sounds  used  are  Do,  Mi  and  Sol. 
Fig.  3-     1 .    Do  is  E.  2. 

do  sol  do  mi  mi 

Mi         3.  4. 

-    ^^^^^^^^ 

^^        do  mi  sol  do 

5. 


—9~ 

P                            P 

..  ..^ 

-         *           ■        ■ 

9 

9 

P                            P 

*                               ' 

9 

do    mi 
6. 

9 
do 

sol 

P 

P                              P 

P                  P        P 

•         •                  1] 

^d'o"^'" 

.  P 

—9- 

9 

P                  P 

9 

7. 

'    •                               *. 

• 

p 

9     9 

P       9 

-1  -- 

•             •           •     ^    II 

9     9             __        __ 

1  P 

P                       •    !l 

#     9 

9     9 

9     9                        9 

8. 

^  __p        P      P  P  P_. 

do 

M   P 

mi    do  mi  sol 

P. ._  P       •  -  •- 

^.         • 

9 

P  P 

p       p       rr             p 

•       .       •      •- 

n»-»       p-p-p 

9 

p  '1 

p                  #    1 

4 

GREGORIAN 

CHANT. 

In  the  foregoing  exercises 

three  lines  are 

used 

,  and  do 

is  placed 

on  the 

first  line,  in  the  first  space 

,  and 

in  the  space  below  the  first  line. 

' 

Always  remember  that  when  do  is  on  a  line,  mi 

and  sol  will  be  on 

the  two ' 

lines  above;  and  when  do 

is  in 

a  space, 

mi  and  sol  will  be 

in  the  two  spaces 

above. 

_ 

Fig.  4.        9.    D 

0  is  D. 

»        m 

- 

1>0' 

m 



m 

0 — - 

-0 — 

m 



• —            ^     • 

^      ^      • 

A 

_  ,          do  mi 
Sol 

p       p 

sol 

do' 

—               10. 

m 

^0 

0 

1 
! 

Ml 

•       - 

r 

0- 

— 0- 

11 

-        • 

1 

m     Jj' 

"o         do 

1 1. 

0 

m 

0 

-# 

0 — 

m 

—0— 

li 

•       « 

m       i>  11 

-      •      ^ 

•                       9 

do 

12. 

0 

I 
0          \ 

-       • 

-# 

m 

11 

.        ^       • 

•       0 



II 

...  p        y 
do 

w 

«       « 

m 

m 

-1 

i 

m 

M" 

-0       • 

-• — 

__^^_JJ 

13. 

m 

9 

m 

m 

m 

m 

m 

—0— 

I 

^           • 

^            • 

» 

m 

m 

-0—^ 

do 

«        _.    « 

0 

0 

9 

-0 — 

0~ 

It 

m 

m 

9     -u 

« 

m 

0              i 

0 

0          9 

0- 

m 

11 

■ m # 

— # 

— #— 

L_ 



-0.        ^ 

14. 

15 

' 

i 
1 

^'      1  ^                                  1 

It' 

« 

* 

9 

0 

# 

1 

0 

L 

0        0 

0      Ti 

do      mi     sol 

do' 

0 

cfo 

0 

i 

II 

«     «            • 

^    ^    # 

0 

• 

0 

0     _ 

#    « 

• 

0 

0 

0 

4P           ^1 

0 

j 

GREGORIAN    CHANT. 


16. 

-9 

#- 

1 

-1         •         ^ 

9 

9 

• 

# 

9 

,       *                s 

9 

1 

'     9 
do 

— # 9 

9         9 

t'^ 

9         9                                 9 

9 

9 

9 

9 

9 

9 

v 

!        17, 

9 
9- 

9 

ii 

m     m     m 

r  •  • 

9               9 

9 

9 

•      •     « 

9   \ 

9 

9      9      9 
do 

•-9 9 9 

A          M 

^ 

^ 
W^ 

P 

9         9         9 

9       9 

9 

9 

9 

•_#! 

9 

•.. 

Jj 

In  these  exercises  the  upper  do^  is  used.     Remember,  when  lower  do  is 
on  a  line,  upper  do^  is  in  a  space,  and  vice  versa. 

Fig.  5-         1  8.    Do  is  G. 

Do-     —  V==^9 #=^^P^=^=^#-  —^ 

3        •-^^=^i±P^=^» • =bzz= ^~T=^ 

Sol        do    sol|    do 

Ml      - ^ ^-•—9  — =Z=IZZ^ 

— • 9 -9 9 9 9 

Do 9 9  ^       P" 

20.    Do  is  G. 

Sol,  ^      •• 


Eit3 


, — ^ ^ — 0 _ — ^ ^_ 


• 9 9- 


:=dj 


sol, 


::^1 


i^izdj 


21.    Do  is  A. 


ill — *         p       j= J         giz — g_      J I 


do    sol  I    do 

— •- 9 r 9 9 •- 


E=^^^ 


6  GREGORIAN   CHANT. 

22.    Do  is  A. 


JZm m 


do    sol,  do 


-9 9 9 9 9 9  ~*       *       P" 


-9 1-" 


In  these  exercises  the  new  sound  introduced  is  low  So/. 

VOICE-TRAINING    EXERCISES. 

Exercises  i  to  8,  on  page  3,  should  now  be  sung  in  the  keys  from  F  by 
semitones  up  to  Bi?  for  Sopranos  and  Tenors,  and  by  semitones  from  Ep 
down  to  A  for  Altos  and  Basses.  Do  not  use  the  syllables  in  this  exercise. 
Vocalize  on  vowel-sounds  :  a  ( as  in  fatJier),  e  (as  in  obey ),  i  (as  in  police), 
o  (as  in^^?),  ( u  as  00  in  goose).  Be  careful  that  the  vowel  chosen  is  not 
changed  in  the  course  of  each  exercise.  These  voice-training  exercises  must 
be  sung  very  softly.     Consult  Chap.  VII,  ''Voice-Training  Exercises." 


CHAPTER    HI. 


SECOND   STEP.     New  Sounds  Re  and  Ti. 


Fig.  6.              23.    Do  is  G 
Mil  — 


F^ =F^ — m — • — ,    -        -==n' 


re'  —     -•        "        •  — h» 9 •h^       '  -^ • 9 •Hi 

ti, 


^^  do       re       do 

ti 

Sol 


ti    ^  I 

24.     Do  is  G. 


-9~ 


Mi  — 

re    —  25.    Do  is  A. 


•zzi^-di 


t~    =^=^=^=^^=^=^^^-^^^^^^^=^^ 


^E-^i 


'I 

Sol 


do 


^z=mi=i=:~~i=zjr^^—^ ^^=^-^^=^9=^^ 


GREGORIAN    CHANT.  7 

26.    Do  is  F. 

: r-# — # -- 


-• •- 


^ 


-# #- 


-• •- 


27.    Do  is  F. 


'^ 


i^EE^_^-EEfEE^^Ed 


do 


■=fl 


^^=^^    ^^i^,=i=^^=g=»=,^^^ 


28.    Do  is  G. 


'znl 


do 


:dj 


In  the  foregoing  exercises  the  places  of  the  notes  have  been  indicated 

by  their  names.     In  Gregorian  Chant  the  names  of  the  notes  are  determined 

by  characters  called  c/e/s.     There  are  two  of  these  clefs,  the  Z><?-clef   ,s ,  and 

:he  Fa-det  ■^.     Either  might  be  used  on  any  one  of  the  four  lines  ;  but  the 

ip^-clef  is  used  on  the  second,  third  or  fourth  line,  and  the  Fa-cl^i  on  the 

second  or  third  line  only. 

Fig-  7-    (a) 

^ — ■ — jg— — -n     The  line  running  between  the  two  points  of  the 

"^^ — ti     clef  is  Do.  


^ 


do  do  do 

(^) 

.in     The  line  running  between  the  two  points  of  tlie  clef 

ZZ^Ilizdj     is  Fa. 


fa  fa 

The  duration  of  a  note  is  shown  by  its  shape.  In  Gregorian  Music 
three  forms  are  used  ;  the  square  '  "  >  b  ^^i^^  "^  stem  (  which  may  be  on 
either  side  of  the  note  and  may  extend  either  upwards  or  downwards);  the 
square  without  a  stem  ■ ;  and  the  diamond  ♦ .  Of  these,  the  note  with  a 
stem  is  the  longest  and  the  diamond  the  shortest.     None  of  them,  however. 


GREGORIAN    CHANT. 


has  an  absolute  time-value.  The  note  with  the  stem  is  used  to  mark  the 
accent  of  the  word  or  of  the  musical  phrase,  and  is  therefore  sung  a  Httk 
louder  as  well  as  a  little  longer  than  the  other  notes.  The  lengths  of  the 
notes  depend  entirely  upon  the  zvords  to  ivhich  they  are  set.     For  example : 


IS' 


29. 


3 


D6  -  mi  -  nus 
30.    Do  is  F. 


vo  -  bis    -  cum. 


Et 


Spi  -  ri  -    tu 


tu 


o. 


^--■^ 


■-♦-■-■- 


-^ 


-♦-■- 


---i- 


I —-V 


G16-ri-a  Pa-tri,  et    Fi-li-o,      et    Spi-n'-tu-i     San-cto.    AMe-lu 

31.    Do  is  F. 

_|_   _    —    — .^^ —   _l__^ — «— ■   _ 


■^^EIt: 


qiHiq- 


-♦— »- 


q" 


A-gnus  De  -  i,   qui  tol-lis  pec-ca-ta  mun-di,   do  -  na  e  -  is  re  -  qui-em  sempiternam. 
32.    Do  is  A. 


-1 


Al  -^  -  lu       -       ia.       Pa  -  scha    no-strum  im-mo  -la 


d»iis5^^ 


■q: 


tus  est  Chri-stus. 


S 


!♦»■- 


■^♦« 


'"5^=? 


Al    -    le      -       lu        -        ia. 
These  exercises  should  be  sol-fa'd  carefully ;  but  the  words  need  not  be- 
attempted  as  yet. 

VOICE-TRAINING    EXERCISES. 

SECOND    STEP. 

Exercises  23,  24  and  25  are  to  be  repeated  as  voice-training  exercises,, 
using  different  vowel-sounds  and  consonants. 
(  Ex.  23,  repeated.)  a  =  ah. 

La  la  la  la  la  la  la  la  la  la  la  la  la 
Lee  lee  lee  lee  lee  lee  lee  lee  lee  lee  lee  lee  lee 
Loo  loo  loo  loo  loo  loo  loo  loo  loo  loo  loo  loo  loo 
Law  law  law  law  law  law  law  law  law  law  law  law  law 
Lay  lay  lay  lay  lay  lay  lay  lay  lay  la)'^  lay  lay   lay 


GREGORIAN    CHANT. 


^se  also  the  consonants  D,  B,  F,  H,  K,  M,  N,  P,  T,  etc.,  instead  of  L.  See 
lat  all  the  consonants  are  pronounced  clearly  and  very  decisively.  These 
iree  exercises  are  to  be  used  for  all  voices  together,  in  the  keys  from  Ei?  by 
smitones  up  to  B.  The  Sopranos  and  Tenors  continue  up  to  F.  Altos 
nd  Basses  rest;  or  they  may  sing  the  octave  below.  Exercise  27  is  to  be 
ung  in  the  same  manner  by  the  Altos  and  Basses,  repeating  by  semitones  from 
'  down  to  Bb.  Altos  need  not  begin  below  D,  which  takes  them  down  to  A. 
t  is  not  necessary  at  each  practice  hour  to  sing  all  the  syllables  at  each 
itch.  One  syllable  at  each  pitch  is  sufficient.  When  the  class  is  familiar 
nth  the  exercise,  the  teacher  should  give  the  pitch  and  then  call  out  the 
yllable  he  wishes  to  be  sung. 


CHAPTER    IV. 

THIRD   STEP.     New  Sounds:  Fa,  La  and  Ti,  Completing  the  Scale, 
'-ig.  8.    33. 


V[i'  - 

■e'  — 

i  — 

a  — 

>ol  _ 

a  __ 

fL\  - 

e  — 

)o  _ 

i|  - 
a, 
>ol, 


$1 



r 

-\ 

"T~ 

n-- 

-1- 

— w 

-p— 

t» 

-■- 

■"" 

-r"- 

— ■ — 

-■"- 

— ■— 

■        - 

H 

^ 

■ 
34. 

"■  -^ 

N 

H 

■ 

^ 

|j 

■ 

■ 

!_■ 

■    m 

■    ■ 

-■- 

■-■ 

■ 

■ 

■ 

. 

■    ■    ■ 

-■- 

___JJ 

35.    Do  is  Ei?. 


^— o- 


-■—■—■' 


■-RrilzM^ 


36.     Do  is  F  or  G. 
Re-qui-em  ee  -    ter     -     nam     do  -  na       e  -         is,     D6  -     -      mi  -  ne, 


GREGORIAN    CHANT. 

— I — 


et      lux       per  -  pe   -  tu    -    a  lu    -     ce  -    at 

37.    Do  is  A  or  BJ?. 

li: 

Ve  -  ni     ere  -  a  -    tor     spi  -    ri  -  tus,    men  -  tes  tu  -  6  -  rum  vi    -    si  -  ta, 

im  -  pie      su  -  pe'r  -  na       gra  -  ti  -  a      quae  tu    ere  -  a  -  sti  pe'e  -  to  -  ra. 

Bars  are  lines  drawn  perpendicularly  through  the  staff,  and  are  used  ii 
Gregorian  Music  to  mark  the  pauses  for  breathing.      Bars  are  of  three  kinds 


The  Short  Bar     [~  ,  which  marks  a  hardly  perceptible  rest ;    thi 

Long   Bar  ,        '       .  which  marks  a   longer   rest  ;    and    the    Double-bai 


_d,  which  marks  the  end  of  a  section  or  the  end  of  a  piece. 


dj 


The  Guide,  |^  or  '|,  is  a  mark  placed  at  the  end  of  each  line  of  music  t< 
show  the  name  of  the  first  note  on  the  next  line 

It  sometimes  happens  that  in  the  course  of  a  piece,  the  clef  is  placeq 
on  a  line  higher  or  lower  than  that  on  which  it  was  placed  at  the  beginning 
thereby  extending  the  compass  of  the  staff.  The  guide  is  always  used  befor< 
such  a  change  of  clef. 

38.     ( iVot  to  be  sung.) 


bg= ^'  ■  .^^Ju^^  rf 


do  re  mi  fa  sol  ti  la  mi  la 

In  this  example  the  Do-c\Qi  is  placed  on  the  third  line.  After  the  thin 
note  the  clef  is  changed  to  the  second  line.  Before  the  change  of  clef,  th( 
guide  is  placed  upon  the  space  which  would  be  occupied  by  fa,  showing  that 
to  be  the  name  of  the  next  note. 

The  other  changes  can  be  easily  understood.  By  means  of  these 
changes  of  clef  the  compass  of  the  staff  is  increased  to  seven  lines. 


GREGORIAN    CHANT.  ii 

The  following  piece  illustrates  the  change  of   clef  and  the  use  of  the 
rarious  bars. 

39. 


ri^:z*zzfz:ffis:.-^=:*Ti:I.^tti 


A    -    sper    -  ges     me,  Do       -     mi  -  ne,     hys  -  s6     -     po        et 

^    _■ ^, ■— h^ ^ ^ ^ *-     -■ 1^ 

mun  -  da     -    bor :    la     -     va     -     bis       me,     et         su  -  per       ni      -     vem 
de     -     al         -  bii    -    bor.         ( Psalm )     Mi     -    se    -    re'    -    re         etc. 


CHAPTER    V. 

FOURTH    STEP.     Singing  Words  to  the  Chant. 

The  pronunciation  of  Latin  differs  from  that  of  English  chiefly  in  the 
'owel-sounds  : 

a  is  pronounced  as  a  in  far. 

e  is  pronounced  as  e  in  obey  when  it  ends  a  syllable. 

e  is  pronounced  as  e  in  check  when  followed  by  a  consonant. 

i  is  pronounced  as  i'  in  police  in  an  accented  syllable  and  as  i  in  It  in 
n  unaccented  syllable. 

o  is  always  pronounced  as  o  in  note  when  it  ends  a  syllable  and  as  o  in 
'bey  when  it  does  not. 

u  is  always  pronounced  as  u  in  rule. 

The  consonants  are  pronounced  as  they  are  written,  except  the  follow- 
ig: 

c  before  e,  i,  ae,  oe,  eu,  and  y,  as  s  —  cedrus,  cibo,  caecus,  co^li,  ceu. 

c  before  all  other  letters  is  pronounced  as  k  :  caro,  charitas,  claritas, 
ogito,  etc. 

j  is  pronounced  as  i. 


GREGORIAN    CHANT. 

ti  before  a  vowel  is  pronounced  as  s  ;  if,  however,  it  is  preceded  by  s,  t, 
or  X,  it  is  pronounced  as  t. 

qu  is  pronounced  as  kw. 

gu  is  pronounced  as  goo. 

su  is  pronounced  as  soo. 

A  word  has  as  many  syllables  as  it  has  vowels.  Words  of  one  syllable 
which  are  nouns  or  pronouns  are  accented  ;  all  other  monosyllables  are 
unaccented.  Words  of  two  syllables  are  accented  on  the  /r.?/ ( Hebrevv 
words  are  accented  on  the  last ).  In  words  of  more  than  two  syllables  th( 
accent  is  generally  marked  in  the  Chant  Books. 

EXERCISE   IN    PRONUNCIATION. 

(a  as  a  in  far.) 
a,  ab,  ad,  da,  alma,  caro,  dare,  ea,  fame,  habent,  mane,  nares,  pate; 
ramos',  salve,  tamen,  vale,  animas,  barbaro,  charitas,  eamus,  famulis,  gratia 
hdbita's,  Idbiis,  mdneat,  natalis,  oravit,  pdtria,  radium,  tdlia,  sdnitas,  vanitas 
adoravit,  castitatis,  decordvit,  elevdtis,  ferebdmus,  habitdvit,  manducdndc 
labordvit,  paldtium,  saturdvit,  transedmus,  vanitdtem. 

( e  as  e  in  obey.) 

de,  se,  te,  bene,  ceu,  dele,  felix,  gere,  hei,  Jesu,  legis,  meo,  nemo,  pene,  regr 
tecum,  veni,  zekis,  benedic,  debitas,  flebiles,  genuit,  memores,  oremus,  petnt, 
regere,  sedibus,  tenuit,  venient,  celebremus,  defecerunt,  emendemus,  sedebi 
tis,  veneremus.  i 

(e  as  e  in  check.)  I 

et,  ex,  es,  sed,  carnes,  dextris,  festo,  gemm^,  fluent,  dicent,  inter,  sermo, 
super,'  lumen,  nomen,  excessu,  c61ebrent,  nescietis,  rectis,  semper,  tentatio- 
nem,  venter. 

("1  as  in  police.) 
ibi,   ei,  cives,  dico,   finem,  gigas,  hiems,   minor,   nivem,  pie,  vives,  siti,  tibi, 

viam. 

(i  as  in  it.) 
in,  inde,  ait,  bibit,  ignis,  illi,  imminentibus,  indnis,  infi'nitas,  infirmitdtis. 

(6  as  in  n5te.) 
bono,  coram,  dono,  domo,  doceo,  eo,  foveo,  homo,  loco,  moneo,  novo,  pona 

rogo,  sono,  volo. 

( o  as  in  obey.)  ^ 

con,  coctus,   cognomen,   collo,    commendo,    commodat,  conceptio,   confirm 


GREGORIAN    CHANT. 


13 


doctus,  fontis,  forma,  horresco,  hortus,  longe,  mollio,  mortalitas,  noctis,   non, 
noster,  occi'do,  occasum,  offense,  omnis,  solli'citi,  somnium,  torrens. 

( u  as  in  rule.) 
currus,  ducem,  fugo,  gusto,  huic,  jucundus,  latum,  murus,  nuntius,  obscurus, 
pugnus,  pulchrum,  quaciimque,  rubrum,  sumus,  tumulus,  uno,  unus,  vulpium. 

In  using  these  exercises,  take  the  one  and  two-syllable  words  from  each 
section  at  first;  then  the  longer  words  can  be  used  later. 

The  following  pieces  may  now  be  practised.     They  should  be  practised 
thoroughly  with  the  names  of  the  notes,  before  being  sung  to  words. 


40.    One  Note  to  a  Syllable. 


^=*-i 


'^' 


—\- 


:p 


^h- 


:1: 


~-^- 


^ 


»-h— h 


Cre-a  -  tor     al  -  nise    si  -  de  -  rum  a  -  ter  -  na    lux     cre-den  -  ti  -  um. 


^ 


Je  -  su     re-demp-tor    6m -ni  -  um,      in- ten  -  de      vo  -  tis    sup  -  pli-cum. 


41. 


^^^^ 


-p! 


:t 


~-T 


Te    lu  -  cis     an  -  te    t^r  -  mi-num    re  -  rum  Cre-a  -    tor  p6s  -  ci-mus, 


fl 


Ut  pro    tu  -    a     cle  -  m^n  -  ti  -   a       sis  prae  -  sul     et     cu  -  st6  -  di    -  a 


42. 


^^ — ■ B ■- 


i^E^^=E^^0E^=:t] 


I    -    ste    con  -  fes  -  sor      D6  -  mi  -  ni      co  -  le'n  -  tes     quem    pi   -  e 


HB^EE? 


t- 


itini^t 


:t 


ti 


lau  -   dant     p6    -    pu  -  li       per     or  -  bem.  Hac      di    -    e       lae  -   tus 

-I* — -\ — -\- ■ ■ — i — I ■ ■ — 


^? 


:jj 


m^ 


su  -  pre 


lau 


dis      ho 


no 


res. 


j^  GREGORIAN    CHANT. 

43.    Two  Notes  to  a  Syllable. 

Ad     re   -  gi  -  as        a  -  gni  da  -  pes     sto  -  lis       a  -  mi-  ctum  can-  di  -  dis. 

— -■— ■■      ,    *       ^ h- 1 i — *— '   i-i 

Post  trail  -  si -turn  ma- lis  ru    -  bri       Chri  -  sto  ca-na-  mus  in-    cly  -   ti. 

In  putting  the  words  to  the  music,  some  difficulty  will  be  found  in  sing- 
ing two  or  more  sounds  to  a  syllable.  The  following  is  the  method  of  over- 
coming this  difficulty.  After  the  exercise  has  been  learned  by  the  sol-fa 
syllables,  take  the  words  by  syllables  and  proceed  thus  (  Ex.  43)  :  Sing  the 
first  two  notes  s-/,  and  immediately  afterwards  sing  them  to  the  syllable 
"ad."  Proceed  thus  with  the  whole  of  the  first  line  :  .s--/  "ad,"  c/'- /*  "re," 
/- .y  "  gi,"  ^'- /  "as,"  c/'- r'  "a,"c/'-/-/  ["gni  da-pes  "||  Now  take  the 
notes  for  two  syllables,  thus:  sl-d^t  "ad  re-,"  /s-d^t  "gi-as."  <'/'/•'-(-/' 
"  a-gni,"  etc.  Then  take  the  whole  line:  si  iPt  /s  d^t  <•/';■'  d^  t  /"ad  re 
gi-as  a-gni  da-pes."  Proceed  thus  with  the  whole  exercise.  This  method 
should  be  used  in  all  cases.  Another  difficulty  which  singers  of  Chant 
sometimes  have  is  inability  to  count  at  all  times  the  right  number  of  notes 
when  a  considerable  number  are  to  be  sung  to  one  syllable  ;  for  example  : 

(  From  Plx.  36.) 


^'^-^i^^^-^-W^^^^m^t^^^ 


:^^qi 


tlt^-z^B-JI^'r^^'trfziTi! 


— I 

111  -  ce-at  e       -        is.  Al  -  le'  -         lu  -  ia. 

Sing  the  examples  first  to  the  syllables,  then  count  the  notes  while  sing- 
ing, and  afterwards,  sing  to  words;  thus  : 

44. 


,_ 

— ■- 

^  — ■  ■ 

. 

J-       \\ 

-t--"-'="- 

■ 

^       M 

k 

^     -JJ 

I     m 

»i 

.s"     }n      r    m 

d     r    1)1     r 

d 

r 

rd          I  St  time 

2 

I 

2345 

G      7 

8 

1234 

5 

6 

13          2d  time 

3     ce 

-  a 

- 

- 

t 

e        -          - 

- 

- 

is          3d  time 

GREGORIAN    CHANT. 

In  a  long"  run  it  may  sometimes  be  necessary  to  divide  thus : 
45.    (  Ave  Maria  :   Fourth  Sunday  of  Advent.) 

ifslslfsfmrfslsflss 
2123456789101234567 
3    a   ----------------  ve 

46.    (  Christus  factus  est :  Gradual  of  Holy  Thursday.) 

j^- — ■— -4,-  -  -  ^-7ZZI:I:^^z^  ij^ Ji] 

/  c/  /     ta  s   f  I     s    d  I  f  s    I      s    sf 
123      1234512345      6 


^5^ 


no 


=~^1 


47.    Two  Notes  to  One  Syllable. 

^ -^ — -^ *" — "-tr-^  -■   -■    ■■L:":^i.-.._":d^H-JJ 

Hoc    est     prje  -  ce  -  ptum  me  -  um.  Ma-  j6  -rem  cha  -  ri  -  ta  -  tem. 

Qui     me    con  -  fe's  -  sus      fu    -     e  -  rit  co  -    ram     ho  -  mi    -  ni  -  bus, 

con  -  fi  -  te  -  bor        et       e    -    go    e  -    um  co  -  ram     Pa  -  tre     me  -  o. 
48. 

> — -I ■ 1 \ \\- — -!--  J 1 ■»--■ — l-i- 

Ec  -  ce     sa  -    cer  -  dos    ma  -  gnus        qui  in     di    -    e  -  bus*  su  -    is 

plii    -     cu  -    it  De     -    o  et       in  -    ven    -    tus     est      ju   -  stus. 

49.    Three  Notes  to  One  Syllable. 


:p: 


•-■ — I f- 


D6     -    mi  -  ne  sal     -     va     nos     pe  -    ri     -     mus     I'm     -     pe  -  ra 


i6 


GREGORIAN    CHANT. 


:1: 


E 


;i 


et      fac       De    -    us      tran  -  quil     -     li    -   ta    -     tem.     Al  -  le  -  lii    -    ia. 


50. 

-1J5. 

■■■ 

II 

_ 

!-♦- 

■% 

— ■- 

■■ 

"fl— 1  ■ 

-♦- 

■■  «-■■- 

m< 

-V 

.-.■^ 

-♦- 

-■-t=^H 

-■4^- 

D6  - 

mi-nus 

fir  - 

ma- 

men  -  turn  me  - 

um    et 

re  -  f u    - 

gi 

-um  me  - 

um 

.  N 

-■— ■- 

_♦: 

-"- 

_»_ 

«■■ 

■  1 

1     ■  ■ 

~J — \] 

■(  s 

■■ 

y-krf-H 

■■ 

■ — p* 



"1"    " 

et    li-be-ra     -  tor    me  -  us,    De  -    us      me  -  us      ad  -  ju  -  tor    me  -  us. 
51 


^Z3J 


^=^^^=^4=^Ai=^=^^^=^=^ 


Tri  -    stes  e  -  rant  a  -  p6    -  sto  -  li       de  Chri  -  sti  a  -  cer-bo    f  u  -  ne  -  re, 


1 1 n  ■ 


Xi 


:tt 


:1==p: 


quern  mor  -  te     cru  -de  -  lis    -  si  -  ma     ser  -  vi     ne  -  ca  -  rant     I'm     -     pi  -  i. 
52.    Do  is  B  or  C. 


1 a pH *—u 


:1= 

I     -     ste  con-fessor  D6-mi-ni  co-len-tes  quem  pi-e  laudant   p6-pu-liperorbem. 


S 


:t 


^ 


Hac    di  -  e      Ite   -  tus      me'-ru  -  it     be  -  a  -    tus      scan  -    de  -  re     se  -  des. 
53.     Do  is  D. 


-^ — atf ■ — ^-B^ 


^^-^it 


O    sa  -  lu  -  ta  -    ris       ho  -  sti  -  a,        quai  coe  -  li    pan  -  dis    6      -      sti-um  : 

|1    .  __ :-.z.-^=z =F~::r^  -r-, :jzzzr:=^-q] 

Bel  -  la    pre-munt  ho  -  sti  -     li  -   a  :      da    ro  -  bur     fer     au  -  xi     -    li  -  um. 

54.    Re  is  E. 

1*---^-— -^~       — ^^^  - -■- -♦'-■-FPa     a^  ^■-■■- ---■■ — ♦-iTr"- 
-■ — ■-■■h hi 1 ^■- 


♦-■■ 


It:: 


■:^- 


c'LmhEz:^ 


G16  -  ri  -  a      ti  -  bi  Tri  -  ni-tas      ae  -  qua  -  lis   u  -  na    De  -  i-tas,   et  an  -  te 


GREGORIAN   CHANT.  17 


j— ♦-■— ■1--=^=g--^iL-.g 


'A=±=^--^^^^=id-_iz=i~-jr:ii 


6     -      mni  -  a        s£e   -   cu  -  la,     et     nunc      et       in      per   -  pe    -    tu  -  um. 
55.     Do  is  G. 


■q' 


1 1 ■-■■ ♦ — ■. -■— ■-!- 


J=^rt 


Os      ju      -      sti       me  -   di  -  ta 


:1= 


et     lin  -  gua    e      -       jus      lo-que  -  tur     ju  -  di  -  ci  -  um 

lex    De-i    e     -     jus    in     cor  -    de  ip-si  -    us. 
56.    Fa  is  G. 

Je  -  su        dul  -  cis    me  -  m6  -   ri  -  a,  dans  ve  -  ra     cor  -   di  gau-di-a, 

sed   su  -  per  mel    et       6  -  mni  -  a     e  -  jus     dul  -  cis     prai  -  sen   -  ti  -  a. 
FOURTH    STEP.     Voice-Training. 

When  these  pieces  are  thoroughly  known,  they  may  be  used  as  voice- 
raining  exercises  by  vocalizing  on  the  various  vowel-sounds  at  various  pitches. 
rhe  method  of  doing  this  should  be  as  follows.  Taking  the  last  exercise, 
*  Jesu  dulcis,"  as  an  example,  we  find  that  by  taking  the  sound  G  for  fa,  the 
iiece  is  in  the  scale  of  D  major.  The  compass  of  the  piece  is  therefore  one 
)ctave,  from  D  to  d.  All  the  voices  may  sing  it  from  the  key  of  B7  by 
semitones  up  to  E  (  B7,  BjJ,  C,  D1?,  D,  E!?,  E  ),  the  Tenors  and  Sopranos 
:ontinuing-  up  to  Aj?,  and  the  Basses  and  Altos  downwards  to  G. 

In  vocalizing  these  examples,  take  o/ie  syllable  for  each  separate  note 
ind  one  syllable  for  eacJi  group,  thus  : 


^ 


-H- 


■t 


^3] 


la      la  la       la        la       la        la      la 

ti        ti  ti        ti         ti         ti         ti       ti 

12  345678 

koo    koo  koo     koo    koo     koo    koo  koo,  etc. 


i8  GREGORIAN   CHANT. 

CHAPTER    VI. 

FIFTH   STEP.    On  the  Use  of  the  Flat. 

The  Flat  ( I? )  is  a  mark  placed  before  a  note  to  tell  us  that  we  must 
smg  a  sound  a  semitone  lower  than  that  indicated  by  the  note.  In  Grego- 
rian Chant  the  use  of  the  flat  is  restricted  to  the  note  //.  When  a  phrase 
occurs  in  the  course  of  a  piece,  of  which /^z  and  ti  are  respectively  the  lowest 
and  highest  sounds,  the  unmelodious  relation  of  the  Tritone  ( so  called 
because  between  the  sounds  fa  and  //  there  are  three  whole  \.o\\Q.%,fa-  sol, 
sol-la,  la-ti)  is  established  ;  to  avoid  which,  a  sound  a  semitone  lower  than 
//,  called  ta,  must  be  sung  instead.  This  is  indicated  by  the  flat  (  •} )  placed 
before//.  '  ^7M^  T  K  Y^.f  T" 

The  Trit6tie  y^  ,  ■"*     |     *     |  is  avoided  by  singing    j"^    ,  a-«-^-|-'« 

f-s — 1— L__i JL.^»-1-Ja-^  1 

A  Tritone  is  either  expressed  or  implied.  It  is  expressed,  when  both  fa  and 
ti  are  written  as  in  the  above  example  ;  and  implied,  when  the/^?  is  omitted, 
but  the  leading  notes  of  the  phrase  in  which  the  //  occurs  are  contained  in 
the  compass  of  a  chord  of  which  fa  would  form  a  part : 

Occasionally  passages  are  met  with  which  contain  an  expTessedTx'\\.QVi^\ 
and  yet  the  //  is  not  flatted  ;  thus,  in  the  Landa  Sion  : 


In    hy-mnis  et  can-  ti  -  cis. 
The  reason  why  the  ti  is  not  flatted  in  this  case  is  because  the  ear  has]' 
become  so  impressed  with  the  sounds  of  the  chord  Do-Mi-Sol,  which  have 
been  sung  before,  that  the  notes  //  and/^,  though  they  be  the  highest  and  j 
lowest  notes  of  the  phrase,  are  considered  only  as  passijig-noit?,.      Sing  the 
whole  strophe  : 

57. 


Lau-da,    Si  -  on,   Sal-va  -  t6  -  rem,  Lau-da     du -  ceni  et  pa  -  sto  -rem, 


GREGORIAN    CHANT. 


19 


^=i 


jEZZP 


In      hy  -  mnis     et     can  -    ti  -  cis. 

Flat  the  //  in  the  last  line,  and  all  the  brightness  and  vigor  of  the 
melody  will  be  lost. 

When  the  flat  is  placed  at  the  beginning  of  a  piece  immediately  after 
the  clef,  ever)'  ti  is  flatted. 

The  rule  for  such  pieces  is  to  call  the  flatted  note/"^?,  as  we  do  in  mod- 
ern music. 


58. 


1^7 

n'^r 

~w 

i»_«_ 

r« 

^■■■b 

' 

A- 


A- 


'1: 


jrzB- 


d r  f        f  f  ni  rm r      f  ni      f  s  1        s 

Re  -    qui- em  ai  -    ter  -     nam     do  -  na      e  -    is.     Do       -       mi  -  ne. 


The  Natural  f  ^ )  is  used  to  cancel  the  effect  of  the  flat 


i§a=f' 


.Do 


:»-:-.-rt. 

mi-ne.       Pro  pa 


I!' 


■iPi*-!— ♦"■-^« 


-=\- 


3 


tri-bus  tu 


Fig.  9. 

fa'  — 

Mi'  — 

re'  _ 


Exercises  on  the  Flat  and  Natural. 


/■TS 


rTN 


ta 


Do' 
ti 

laT 
Sol 


:P- 


F»^i 


:i«Li. 


1=t: 


-H- 


:t: 


fa    -  5  -.  ■ti2-:^-^=i=f:=i2i 


ta, 


Mi. 
re      — - 
Do     — 

la'     — 


It* 


>Hi       ■ 


1=1- 


-zit: 


^■Z^EiL^' 


Sol. 


20  GREGORIAN    CHANT. 

Examples  Showing  the  Use  of  the  Flat  and  Natural. 
59. 


Ec    -    ce     VI     -     di-mus  e         -         -        um  non  ha-ben-tem    spe-  ci  -  em, 
ne-quede-c6  -  -  rem;  a-spec-tus   e  -  jus  in     e 


=t]: 


o    non  est,     hie  pec  -  ca    -    ta     no-stra  por  -  ta     -     vit, 

et  pro    no  -  bis    do      -       -        let :     i  -  pse    au  -  tem  vul  -  ne  -  ra  -  tus  est 


'  j*-" — ■ — ■— ■—^ — ^-—* ■     "Ht — ■*— ■ — j"^ — I- 


ttt 


pro-pter   i  -  ni -qui  -  ta  -  tes    no     -     stras  :    Cu     -    jus  li  -  v6       -       re       sa    - 
na  -  ti     su  -  -  mus.  y .  Ve  -  re    Ian  -  gu6-res  no  -  stros   i   -     pse 


fZw!iiEE:!!=F^-i3!5: 


-1-^^-^^i---"^^-1--"^-^r='=g=g^-^g^^^~-.-^ 


! 


tu       -        lit,       et     do  - 16  -  res     no     -     stros    i  -  pse  por  -  ta  -         vit. 

60. 

Qua-reer-go      ru- brum  est    in  -  du -men-tum  tu-um,  et    ve  -  sti-men-ta 

tu    -     a       sic  -  ut  cal-can -ti -um  in    t6r- cu  -  Id        -       ri  ? 
61. 

^  ' ^— ^ ■ -B»a-^-B^p-^-B^i^-»-a-"'--^iL- ■-4=H-^ 

O       ad-mi  -  ra     -   bi-  le  com-mer -ci  -  um  !  Cre-a-tor  ge'-ne-ris   hu  -  ma  -ni,  ^ 


=1 


GREGORIAN    CHANT 

Hi"      ■ 


21 


a  -  ni  -  ma- turn  cor-pus  su-  mens,  de  Vi'r-gi-ne    na  -  sci  cli   -  gna  -  tus  est 


et     pro-ce-dens  ho  -  mo    si   -   ne    se-mi-ne,  lar-gi'-tus    est    no -bis 


r.t 


-H- 


jBizs: 


su  -    am     De  -  i  -  ta   -    tern. 
62. 


^^^ 


♦-■   l-'^q"  ■^-J^^~t=ii^:*=*-- . 


:1=1 


::^- 


'1: 


--il: 


Ye-nit  Je  -  sus  cum  dis  -  ci- pu-lis    su      -      is      in  vil-lam,  qux-  di  -  ci-tur 


^^==F=. 


-C:^-3 


■zzi~»     ■: 


reth-  se  -  ma  -  ni,   et      di  -  xit    il  -  lis  :  Se  -  de  -  te    hie,       do  -nee  va-  dam 


^^^=^^n 


il  -  luc    et       o  -  rem. 
63. 


E^E=, 


^=d- -^==P^«-----_.  -■-^=—  F 


t« 


'1' 


-■— B-^a ■-■ 


i^=- 


Ho  -  di  -  e    com-ple  -ti      sunt     Di  -  es  Pen  -te  -  c6  -stes.  Al  -  le    -  lu-ia  ! 


'^- 


:1: 


■-■ — ■-♦-»B-i-|^ 


H(')  -  di-e   Spi- ri-tus  Sane    -    tus    in    i -gne  dis-ci' -  pu-lis    ap  -  pa- ru-it 


i=_zidz=izd- 


H- 


F!2  ■■   ■   -1 


et  tribu-it     e-is  Cha-ris  -  ma-tum    Do-na,      mi  -  sit    e  -  os  in     u-ni-ver  - 


mun-dum  pre-di  -  ca  -  ri     et     te  -  sti  -  ti  -  ca  -  ri     qui  ere-  di     -     de  -  rit 


:--1- 


:[== 


^m — ♦- 


r-zt: 


et     bap-ti  -    za  -  tus    fii   -   e  -   lit       sal     -     \U!- 


rit.      A]  -    Ic'    -     lu-ia ! 


^ 


GREGORIAN    CHAxNT. 

Examples  with  the  Flat  at  the  Beginning. 
In  these  pieces  the  flat  marks  the  place  oi  fa,  thus  : 


(  "^  ■-  fr^^-^   ■    ■    .11 

f     ni      r       d  f      n\     r      cl 

y^  They  may  be  sung'  also  in  the  ordinary  way,  giving  the  flat  its  name 


as  //  flat 
64. 

Al         -         -         -         ma      Re-demp-t6  -  ris  Ma -ter,  qua  per    -    vi  -  a 
coe    -   li,   por    -     ta  ma      -      nes,     et  stel    -    la      ma  -  ris,  suc-cur-re 


>^-  •msr^t^~~~-- — ilr'«z»"-»=":b r 


ca-den-ti,  sur-ge-re  qui   cu  -rat    p6-pu-lo:tu      qua;ge-nu-i    ■-  sti,     na-tu 

>^^-"— '-■■"i  hja"""     ■■-■—"— ■■■    ■.  ,' T^-«-h 

ra   mi  -  ran-te,    tu  -  urn  sanc-tum  Ge  -  ni  -  to  -  rem,    Vir  -  go    pri  -  us 

^^  — " — I ^♦♦-■— -■■  ifhi««-«-*-»j-««-«-1-^ 


^:^: 


ac    po  -  ste  -  ri-us,  Ga-bri-e     -      lis  ab    o   -re.    Su -mens  il-lud   A  -  ve, 


:^=i=ai:t"5i-»i=ii:^J 


pec  -  ca  - 16  -  rum  mi-se  -  re        -       re. 
65. 


j^^i^r-'— 'zznizjzt'zigzzizizzzJTizr^zz:  ___=z£zz= 

Chri-ste,  san  -  cto-rum  de  -  cus  An-  ge  - 16  -  rum,  gen  -  tis  hu-ma  -  nas    Sa-  tor 


j^jzzzzzy3=:ii±z ^*7:«±'i:^:*=z:*iz»-^-  iz^zijbrzjz 

et  Re-dem-ptor,  cde  -li-tum  no  -  bis  tri'-bu-as  be  -  a  -  tas   scan  -  de  -  re    se  -  des. 


GREGORIAN  CHANT. 


23 


66. 


le  -  i  -  son. 


Ky  -  ri  -  e       e 
67. 


Sane  -  tus,  Sane  -tus,  Sane  -  tus,D6-mi  -nus  De  -us  Sa     -    ba-oth. 


'^l 


— 1 


-~^-^~ 


--H- 


^i=»"   -it   i^ti-^*^ 


pie  -  ni      sunt      coe      -     li       et        ter  -    ra      gl6  -    ri  -  a       tu    -    a. 


Ho      -     san-na 
68. 

p. 


in   ex  -  eel  -  sis. 


— I- 


:zt 


Lo  -  que'  -  bar    de    tes  -  ti  -  mo  -  ni  -  is       tu        -        is       in  eon-spec  -  tu 


.— P-' 


:p: 


^-- 


re   -   gum    et  non  eon  -  fun  -  de'  -  bar    et  me  -  di  -  ta  -  bar  in  man-da  -  tis 


t:: 


tu  -     is   quai  di  -   le    -    xi     ni        -       mis 


:q^ 


:dj 


Examples  Showing  Changes  of  Clef. 


69. 

■ — ■  - 


,1    Al,-    Mip-  1^ 

=jzd^j=zizb 


1- 


3    vos      o-mnes,qui  tran  -  si  -  tis    per  vi  -  am,  at  -  ten     -    di  -  te 

et        vi  -  de  -  te      si     est     do    -   lor         si    -    eut    do        -         lor     me  -us. 


70. 


:1: 


^^ 


"^^- 


O     par      In    -    ge     -     ni  -  to,    Chri  -   ste     De   -  us,     Pa    -     tri        In 


24 


GREGORIAN    CHANT. 


-^'- 


:1 

fans  !  quern  te  -  ne-ris,  con  -  ju  -  ge    cum     sa  -cro,  niul-  cet  Vir  -  go 


?^ 


:^=i^i=t-=Ez=j: 


:t 


Pa-rens       et      co  -  lit      6  -  scu  -  lis     da     cu  -  nas    pro  -  pe     si   -  ste  -  re.| 
71. 


:P- 


-F 


n-v-^^^-^^=^ 


^_--a— _ — i 1 ■ — m — ♦-  ---^-^i^ 1 

♦* — I — "a-^ — a     ■      1 JaM^^^a— ♦— ■ 


^---' 


Sal  -   ve,    Re  -  gi         -        na,       ma  -  ter  mi  -  se  -  ri  -  cor 


di  -  ae. 


^ 


^'::i^-^-.-X.-^^^¥^ 


:1— Fr 


♦♦■-■-tt"Bi: — ^ 

vi    -  ta,  dul  -  ce'       -        do,     et  spes  no -stra,  sal         -         ve.     Ad  te     cla 

-I — ■ -■— 1 ■■^-a-Li-BH 

ma    -    mus,  e'x   -   u  -  les     fi  -  li  -  i  E  -    va;.    Ad    te         su-spi-  ra 


*i=. 


-f- 


-■— B,^ 


-■^£eJ 


mus,  ge  -  men-tes    et      flen  -  tes,     in    hac    la   -  cry-  ma  -  rum  val     -     le.     j 

A . B ^— ■-■-■1 ■      _    , 

E  -    ja       er  -  go     ad-vo- ca    -     ta    no  -  stra,  il-los   tu     -      os   mi-se 


J 


P — ■ — *■*  i-F 


n  -    cor 


des  6   -    cu  -  los   ad    nos    con  -  ver 


ii=i^-tt^-'-^-=B=^/!zr*zz?'-m'-T=- 


te. 


Et    Je    -  sum    be  -  ne  -  di  -   ctum    fru-ctum  ven 


^^^^£^~^ti^^=^E;^E^=i=^^ 


H^itm: 


tris  tu 


i,      no       -        bis     post    hoc    ex    -    i     -     li  -    um    o     i 


GREGORIAN    CHANT. 


-'5 


^ 


sten    -    de. 


O  cle    -   mens,    o  pi       -      a,      o        dul 


3t^M 


1?^: 


cis       Vir   -   go  Ma  -  ri       -        a ! 

Sometimes,  instead  of  changing  the  clef,  a  small  line  called  a  /^^^r-line 
is  added  to  the  staff  for  the  purpose  of  extending  its  compass. 


72. 


:p: 


sziztBZiiiiiiil: 


:^=^: 


-■-■-■-h  ■. 


1= 


Ex-ul  -  ta-vit    cor    me  -  um    in       Do  -  mi-no,  et  ex  -al  -ta-tum  est  cornu  meum 


~-Ji- 


dJ 


in  De  -  o     me-o,    qui  -  a     lae  -  ta  -  ta  sum    in  sa-lu-ta-ri      tu    -  o. 
The  following  are  some  of  the  more  difficult  specimens  of  Chant  : 


73. 


i^=^=i= 


-4 


ti=i=i?q=!=?iia=ie 


1"^=^- 


De  -  si  -  de    -  ri  -  um    cor  -  dis    e     -      jus  tri  -  bu  -  i      -    sti     e 


et  vo-lun-ta  -  te     la  -  bi-  6  -  rum  e       -     jus  non  frau-da     -    sti  e       -       um. 


^=i! 


-♦ — ■- 


■-I- 


:^- 


t 


--t 


^- 


1^.  Quo  -    ni  -  am  prae-ve-  nf        -         sti    e      -    um      in    be  -  ne  -  di  -  cti  -  6 


J^— ♦— ■— P l-ll ^— 


ni  -  bus    dul  -  ce' 


di  -  nis. 


26  GREGORIAN    CHANT. 

74. 


i5-?^^"^!"^5:^£:-t^*:^^^=^tSs^-^E?E*^^ 


A  -  -  -  ve     Ma  -  ri  -  a,        gra  -         ti  -  a 


pie  -    na,     DcS  -     mi-nus     te         -     cum,  be  -  ne  -  di  -  eta  tu 

in  mil    -     li  -  e'  -       ri-bus,   etbe-ne-di  -  -  ctus     fru    -    ctus 

ven      -       tris  tu  -  i.  Al  -  le'         -  lu  -  ia,     al  -  le'    -    lu        -       ia. 

75. 


H6-di  -  e   sci  -  e'         -         tis,   qui  -  a     ve        -         ni-et     Do  -  mi-nus, 


A ^ ■*♦-■ F« — ■■♦*■    — \-m — ■-■^♦^■♦-a T— " 


et  sal- va      -      -        bit  nos :  et    m-'  Jie    Y'/d-X-^x/  -     bi  -  tis  j 

glo       -       ri-am     e         -         -       jus.   Y.  Quire-gis  Is-ra- el,  in  -  te'u 


de:     qui    de -du    -    cis,   vel-ut     o  -  \em,  Jo       -        seph :  qui  se     -     des 
su -per  Che'     -       ru-bim,    ap  -  pa     -     re     co-ram  E       -        phra-im, 
Ben  -  ja  -  min,  et        Ma  -  nas  -  se. 


GREGORIAN    CHANT.  27 


CHAPTER    Vn. 
VOICE-TRAINING   EXERCISES. 

The  human  voice,  as  an  instrument  of  music,  is  classed  among  the 
ileeds''.  The  various  musical  instruments  are  divided  into  different  classes, 
e  have  the  "Stringed  instruments"  played  by  means  of  a  bow  (in  this 
Lss  is  included  the  whole  violin  family  ),  stringed  instruments  played  in  other 
ys,  as  the  pianoforte,  the  harp,  the  guitar,  and  so  forth  ;  the  "  Wood- 
nd,"  which  includes  the  flutes,  oboes,  bassoons,  clarinets,  saxophones ;  and 
3  "Brass,"  which  includes  the  horns,  trumpets,  cornets,  trombones,  etc. 

A  reed-instrument,  such  as  the  clarinet  or  oboe,  consists  of  a  pipe,  some- 
nes  cylindrical  in  section  (as  the  clarinet)  and  sometimes  conical  (  as  the 
oe)  ;  which  pipe  can  be  shortened  by  means  of  holes  bored  in  its  sides, 
le  column  of  air  contained  in  the  tube  is  set  in  vibration  by  a  "reed." 
lis,  in  the  clarinet,  consists  of  a  thin  piece  of  cane,  held  in  a  clamp  and  cover- 
r  a  hole  in  the  mouthpiece.  In  the  oboe  the  reed  is  double,  and  in  vibrating 
e  edges  of  the  two  reeds  strike  together.  The  human  voice  is  an  instru- 
ct of  the  double  free  reed  class  ;  in  place  of  the  two  pieces  of  cane  are  two 
^mbranes  which  are  known  as  the  "Vocal  Cords,"  which  are  not  really 
rds  at  all,  but  more  like  a  pair  of  lips,  capable  of  closing  entirely  the  open- 
l  in  the  "  Larynx,"  which  is  the  vocal  instrument.  When  we  sing  we 
use  these  vocal  cords  to  approach  each  other,  and  force  air  through  between 
em  from  the  lungs.  The  pressure  of  the  air  and  the  elasticity  of  the  cords 
;ernately  overcome  one  another  and  the  result  is  a  vibration  of  the  vocal  cords, 
the  first  chapter  we  learned  that  the  speed  of  the  vibrations  determines 
e  pitch.  The  rate  of  vibration  of  the  vocal  cords  is,  or  should  be,  abso- 
tely  under  the  control  of  the  singer.  When  he  wishes  to  sing  a  sound,  he 
^consciously  fixes  the  tension  of  the  cords  to  gi\e  the  number  of  vibrations 
quired  for  the  sound  he  wishes  to  produce. 

The  raiv  material oi  sound,  if  we  may  so  call  it,  is  projected  into  the  "pipe  " 
;onsisting  of  the  cavities  of  the  mouth  d.wd.  pharynx),  and  finally  emerges  as 
formed  musical  tone  through  the  lips  and  nostrils.  It  is  formed  into 
eech,  or  song-speech,  by  means  of  the  tongue,  teeth,  lips  and  palate.  In 
ng-speech  the  pitch  of  the  sounds  formed  by  the  vocal  cords  is  made  to 


28  GREGORIAN  CHANT. 

conform  to  the  degrees  of  the  musical  scale  ;  whereas,  in  ordinary  speed 
is  not. 

When  we  wJiisper,  the  column  of  air  passes  through  the  Glottis  ( 
opening  between  the  vocal  cords )  without  setting  the  cords  in  vibrat 
We  can  ivhisper  a  melody.  In  this  case  we  form  the  melody  by  enlarg 
or  decreasing  the  size  of  the  vocal  cavity  by  means  of  the  tongue  ; 
lips.  When  we  nearly  close  the  lips,  leaving  a  small  orifice  only,  we  form 
mouth  into  an  instrument  of  the  "flute  "  class.  The  result  is  what  is  knc 
as  "  whistling."  If  we  sing  a  musical  tone  at  our  ordinary  speakmg-'^\\.Q\\, 
vocal  cords  are  neither  very  tight  nor  very  loose  in  tension.  We  can, 
greater  or  less  effort,  sing  tones  which  are  higher  or  lower  by  increasing 
relaxing  the  tension. 

C  ]       [\^|      ^         -     THE    REGISTERS   OF  THE   VOICE. 

On  e.xamining  the  voice  of  a  boy  who  has  a  fairly  good  ear  and  a  reas 
ably  good  tone,  we  shall  find  that  if  we  start  him  singing  a  scale  commenc 
at  his  natural  speaking-pitch  he  will  experience  increasing  difficulty  in  p 
ducing  the  tones  as  he  ascends  ;  to  overcome  which  he  will  use  grea 
effort,  thereby  causing  his  voice  to  become  harsh  and  strident.  This  n 
be  tried  with  the  scale  of  C  or  D.  If  we  start  him  with  a  higher  sound,  ) 
F  or  G,  and  let  him  sing,  not  tJie  scale,  but  the  chord-notes  d,  ni,  s,  cP  : 

-I 

-h ^— 

with  his  former  strident  tone,  but  his  voice  will  most  likely  "  crack  "int( 

much  softer,^////  tone.     This  tone  is  the  tone  of  one  of  the  ;//>/r/- registi 

of  the  voice,  and  can  be  easily  imitated  by  a  Bass  or  Tenor  who  tries  to  si 

what  is  commonly  known  as  "falsetto." 

A  register  of  the  voice  consists  of  a  number  of  tones  produced  by  t 

same  mechanism.     The  vocal  cords,  in  construction,  are  muscular  ligamen 

with  an  outside  covering  of  mucous  membrane.     When  we  sing  at  the  ordina 

pitch  of  our  speaking-voice,  the  muscular  portion  of  each  cord  is  brought  w 

forward,  making  the  edges  round  and  firm.      Hence  the  fuller,  rounder  to 

of  the  voice  thus  produced.     When  we  ascend  in  the  scale,  the  tension 

the  cords  is  increased,  until  at  last  we  arrive  at  a  limit,  and  can  go  no  high< 

This  limit  may  be  modified  by  cultivation,  or  misuse,  of  the  voice.      Boys, 

account  of  their  habitual  tendency  to  shout,  nearly  always  have  this  regis! 

forced  too  high.     This  accounts  for  the  strident  quality  of  so  many  bo 


~<5f- 


Z.\     he  will  not  be  able  to  sing  the  two  upper  to] 


I 


GREGORIAN    CHANT. 


!9- 


voices  ;  the  unnecessary  effort  which  they  use  in  singing  in  this  manner  tires 
their  muscles,  and  they  sing  flat  in  spite  of  naturally  good  ears.  It  is  this 
habit  of  forcing  up  the  lower  register  which  makes  a  boy's  voice  appear  different 
from  a  girl's.  There  is  no  natural  difference  whatever  between  the  two  voices. 
If  girls  habitually  shout,  as  they  sometimes  must  to  make  themselves  heard 
above  the  din  of  machinery  in  workshops  and  other  places,  they  acquire  the 
strident  dojy-woice,  and  it  is  found  upon  examination  that  the  lower  register 
has  been  forced  upwards  several  semitones.  If,  on  the  other  hand,  boys  are 
brought  up  in  such  a  manner  that  loud  shouting  is  the  exception  rather  than 
the  rule  of  their  lives,  their  lower  register  will  be  found  generally  to  be  about 
normal.  The  upper  limit  of  the  lower  register  of  the  human  voice  is  in  the 
neighborhood  of  F  or  G  ( the  first  space  and  second  line  of  the  Treble  staff), 
their  vibration-rates  being  348  and  391^  respectively.  This  sound  is  a  mod- 
erately /oza  sound  for  the  Soprano,  a  middle  sound  for  the  Alto,  quite  a  high 
sound  for  the  Tenor,  and  generally  above  the  ordinary  compass  of  the  Bass 
voice. 

When  we  use  the  middle  register  of  the  voice,  the  muscular  part  of  the 
vocal  cords  is  retracted,  leaving  the  edges  thin  and  loose.  In  ascending  with 
this  register  we  come  to  a  limit  as  before  ;  but  it  is  not  so  apparent  in  some 
voices  as  in  others.  The  tones  of  the  middle  register  can  be  made  to  over- 
lap the  tones  of  the  lower  register  considerably.  The  following  experiment 
may  be  tried.  Ask  the  boys  to  sing  the  following  two  sounds  without  any 
break  between  the  sounds  and  tell  them  you  want  them  to  be  particular  to 
give  the  "  boy's  "  voice  :  to  Jiold  on  to  the  last  sound  and  to  notice  Jiow  it  feels 


in  the  tliroat  : 


After   which  ask   them    t<^   sing 


the   following,  but  with  a  gii'l' s  voice  ;   holding  the  last  sound  as  before,  and 

^rv  /TV 

making  no  break  between  the  sounds:      frV)    I"  '■^,^^~ \      ^\ h  ^^"  ^^'^^^ 

or 

find  that  the  second  sound  approached  from  heloiv  feels  like  a  high  sound  ; 
while  the  same  sound  approached  from  above,  feels  like  a  low  sound,  because 
less  effort  is  required  to  produce  it  and  it  really  is  a  comparatively  low  sound 
in  the  middle  register. 


30  GREGORIAN    CHANT. 

The  Head  or  Upper  Register  extends  to  the  top  of  the  voice.  There 
is  sometimes  a  bad  break  between  the  middle  and  head-registers,  but  not 
nearly  so  often  as  between  the  lower  and  middle. 

Contrary  to  tJie  general  opinion,  all  voices  have  these  three  registers;  but 
the  upper  registers  are  generally  unavailable  in  men's  voices  on  account  of  the 
dissimilarity  in  tone  and  the  consequent  difficulty  in  blending  them. 

The  following  are  the  characteristics  of  the  various  voices. 

The  Soprano  :  —  Lozver  register  not  very  strong,  the  break  between  the 
lower  and  middle  registers  is  generally  very  ma;  ked  ;  middle  and  upper  reg- 
isters full  and  strong  ;  break  between  middle  and  upper  registers  generally 
hardly  perceptible. 

The  Alto  :  —  Lozver  and  middle  registers  \'ery  full  and  strong.  Break 
between  lower  and  middle  not  nearly  so  strongly  marked  as  in  the  Soprano  ; 
in  many  cases  it  can  be  detected  with  difficulty.  High  register wq-slV.  Break 
between  middle  and  high  strongly  marked. 

The  Tenor  :  —  Ordinarily,  the  Tenor  voice  consists  of  lozver  register 
only,  though  in  most  Tenors  the  middle  register  may  be  developed,  provided 
that  the  tone  is  not  too  dissimilar.  All  Tenors  should,  however,  cultivate  the 
middle  register. 

The  Bass.  The  compass  of  the  Bass  voice  lies  entirely  within  the  lozver 
register. 

The  Three  Registers  of  the  Human  Voice. 

Lower  register.  Middle  register.         Upper  register. 

— V~^- 


^ 


H- 


__i_to: 


-4- 


Choir-Training. 

In  commencing  the  training  of  the  voices  for  the  Choir  we  take  it  for 
granted  that  the  boys  are  entirely  untrained.  As,  at  first,  the}'  sing  only 
the  principal  notes  of  the  scale,  D  —  M  —  S,  these  must  be  used  for  the 
first  training  exercises  as  set  forth  in  Chapter  II.  The  other  exercises  met 
with  from  time  to  time  are  taken  from  the  material  which  has  been  learned 
under  the  "  step,"  and  are  to  be  used  as  directed.  As  a  general  rule,  all  the 
voice-training  exercises  are  to  be  sung  z'ery  softly  at  first. 


GREGORIAN    CHANT. 
Exercises  for  the  Middle  Register. 


33 


/TS 


( Boys  Only ) 
/TV 


iT\ 


/TS 


a^iEs=p=iEiEi=^i=i^^ 


and  down  by  semitones  to 


ztJ 


:;j  Sing  on  vowel  sound;^ 
ah,  00  and  ee. 


W-0-^0  (^ 


t^^fLFi^ 


tr- 


/rs 


:3 


and  down  by  semitones  to 


^=^^^ 


:^^=dl 


etc. 


i 


i^=i 


/T\ 


>,*-P 


•— ^— ^ 


1— 


l«— •-^ 


££E 


»— ^ 


-p-#-^-r 


i^s: 


It 


and  down  by  semitones  to  L/L-     ^J — J — ^ A--^ 


• id—^ 


etc. 


GREGORIAN    CHANT. 


rrs 


•^  •  #  •^ 


A-\ — \ — I — ^.^ — I— I— K-H- 


down  to  A. 


/T\ 


^^L---#-^-#--^^t-^-#-^#-a ^— s-»-P#^ir— f2=^-^ 


_^_. 


down  to  B!?. 


For  Blending  the  Lower  and  Middle  Registers. 


l--J>N.; 


■M=^gA 


-1^ 


L^ 


f- 


-1^- 


a       GO 


a     GO 


a      OG 


a  GG       a 


The  notes  with  the  stems  down  are  to  be  taken  on  the  lower  register ; 
those  with  the  stems  up,  on  the  middle. 

Sing  also  in  FJi  and  G  upwards,  and  in  E  and  EJ?  downwards. 


s:/ 


I  V^      I  Vi/      ^"  v^l/        'j  S^      I  VA» 


/    Jf?==-  /  />=-    /  p>-    /  jf? 


-# *•- 


;^; 


•#^ 


f-p- 


-J — I — \ 


-Jg^TL-^l 


E,  Ei?  and  D. 


?*t^ 


pfT        '  P  f  J  *  ^  fi  "^ 


e!»,  E,  Dk  c. 


rjj         ^ 


GREGORIAN   CHANT. 


33 


if 


j— J— 1— J — -I- 


i^ 


m 

1 


-»-  T^l-         ♦^ 


In  B  and  B!?. 


•# •# 


U^ 


-^# 


^<i 


f     -<$^ 


Exercises  for  the  Middle  Register. 

(  Tenor  Only.) 


ii 


M^ 


f 
V 


^-^ 


-vj/- 


:^P=r=t: 


t; 


t: 


/^ 


J 


-ffT— P H*— p— F— VA/-[-  H*— I SJ/-Va/-  -#-ffH-VA/-S^-  P#—  — S^-SA/-^ 


ah 
e 


ee 
oo 


one !  two !  three !  four !  five ! 
a       b         c        d      e 


Continue  upwards  to  BJ?.  At  first  the  two  registers  will  probably  be  quite 
dissimilar  in  tone.  The  upper  sounds  of  the  lower  register  must  be  toned 
down  so  as  to  made  the  blending  better.  The  following  are  some  Formulas 
for  General  Exercises  for  all  the  voices.  We  give  them  in  one  key  only. 
They  are  to  be  continued  upwards  and  downwards  as  far  as  each  voice  will 
reach.  Generally  they  are  to  be  sung  softly;  sometimes  they  may  be  sung, 
for  special  practice,  //,  but  this  must  not  be  kept  up  long.  They  should 
also  be  practised  staccato  and  legato.  Each  exercise  is  marked  in  a  special 
manner ;  but  each  of  the  exercises  should  be  practised  in  all  the  methods 
given  below  it. 


34 

do 


GREGORIAN    CHANT 


i^rt 


qczizip=i 


=^ 


-M*- 


ah 
one 


&' 


.  two 


ah     . 
three 


four 


five 


do 


•— F 


-F— ^ — •— ^ — F— f 

Lj     L-J     Lj 


p:zz[:^i=p-fz^_^_^„fzp: 


(S* 


ee 
koo 


koo  koo 


koo 


ee 
koo    . 


koo 


koo 


t^~t£^ 


X-tA — 4 


ha  ha  ha 
( hum  with  closed  lips.) 


do 


U^-^    -^"^     1^^^    **^*^      '^-**^ 


M-z^- 


la    la  la 
staccato  ( detached.) 


do 


do 


^  I 

■^^ — ,^ — i-i — I — ^-H — I — I — I — F^-i — ^^^— ■ 1 — I — I — i-i T1 


a 

a  i  e  u  a 

Practise  this  only  in  the  manner  marked. 

-4 


hahahahaha     . 

B,     ^     3,     3.      B. 


ha  ha  ha  ha 
a    a    a    a 


ha  ha  ha  ha 

a   a    a    a      ... 


do 


^llf^r^ 


i^irirzpr^ 


•^Vf-^9 


Ptqi 


I^^lti 


staccato  and  legato, 
(detached  and  bound.) 


GREGORIAN   CHANT. 


35 


o 

aw 

u 


e 

aw 


eh 


ah 


^^^^^t 


u 

ah 

a 


ah 
ee 
i    . 


1 

o 
ha 


ha     ha       ha        ha        ....  ha   ha    ha 
ha    ha    ha     ha    ha    ha    ha 


a 

ha 

ha 


(  also  e-o-u) 


ha  ha    ha    ha ha  ha  ha     ha 

ha  ha  ha    ha  ha  ha  ha      ha 


CHAPTER    VIII. 

On  the  Gregorian  Modes. 

A  Mode,  in  music,  is  the  method  of  using  the  sounds  of  the  scale.  As 
we  have  seen  in  the  earher  part  of  this  work  (  page  2  )  we  may  take  any 
sound  of  the  scale  for  the  starting-point  of  a  Mode.  When  we  start  with 
the  sound  Do,  and  compose  melodies  in  the  scale  so  formed,  we  make  the 


36  GREGORIAN    CHANT. 

sounds  Do,  Mi  and  5c/ especially  prominent.  The  tendency  of  the  sounds  re, 
fa  and  la  is  to  fall  to  Do,  Mi  and  Sol  respectively ;  and  the  sound  //  tends  to 
ascend  to  Do.  This  is  explained  more  fully  in  the  next  Chapter.  This 
method  of  using  the  scale  is  called  the  "  Modern  Major  Mode."  It  is  called 
a  major  mode  because  its  third,  Do -Mi,  and  its  sixth,  Do -la,  are  major 
and  because  the  principal  harmonies  used  in  it  are  the  major  chords  Do -Mi- 
Sol,  Sol-ti-re  and  fa-la-Do.  It  cannot  be  too  strongly  impressed  upon 
the  mind  that  tJiis  peculiar  use  of  the  sounds  constitutes  the  mode  ;  for  if  we 
make  any  other  sounds  than  Do,  Mi  and  Sol  principal,  we  are  not  in  the 
major,  but  in  some  other  mode. 

The^ Gregorian  Modes  (or  Tones,  as  they  are  sometimes  improperly 
called  )  are  the  scales  upon  which  are  constructed  the  various  Gregorian 
melodies.  There  are  fourteen  Gregorian  Modes  in  use.  They  are  divided 
into  two  classes,  Authentic  and  Plagal.  The  Authentic  modes  are  those 
which  are  numbered  unevenly,  namely,  the  first,  third,  fifth,  seventh, 
ninth,  eleventh  and  thirteenth. 

The  Plagal  modes  are  those  which  are  numbered  evenly,  the  second, 
fourth,  sixth,  eighth,  tenth,  twelfth  and  fourteenth. 

Each  mode  has,  theoretically,  a  compass  of  one  octave  ;  though  in  prac- 
tice the  melodies  extend  higher  or  lower  than  the  normal  compass  of  the 
mode.  '"'' 

The  melodies  formed  from  each  of  these  modes  have  certain  sounds 
made  especially  prominent.  It  is  by  means  of  these  salient  points  that  we 
can  identify  a  mode. 

The  melodies  written  in  any  one  mode  always  end  on  the  same  note  t- 
this  note  is  called  the  Final  of  the  mode. 

In  the  Authentic  modes  the  final  is  always  the  lowest  note  of  the  scale; 
hence,  the  definition  of  an  Authentic  mode  is  :  One  whose  scale  ascends  to 
the  octave  above  its  final. 

A  Plagal  mode  is  one  whose  scale  ascends  a  fifth  above,  and  descends 
a  fourth  below,  its  final. 

The  following  examples  of  an  Authentic  and  a  Plagal  mode  will  show 
their  construction. 

85.    Final.  Final. 


7th  mode.  8th  mode. 


GREGORIAN    CHANT. 


37 


1 

1 

1 

1. 

s 

C 

o 

Q 

tM 

o 

c 

f— « 

5        S 

c 

3g 

3«  GREGORIAN   CHANT. 

The  Modes  are  subdivided  into  pairs ;  each  pair  consisting  of  ai 
Authentic  Mode,  and  a  Plagal  (  borrowed  )  Mode  having  the  same  final. 

\       The  final  of  the  First  Pair,  consisting  of  the  First  and  Second  xModes.  is    ....  Re. 

The  final  of  the  Second  Pair,  consisting  of  the  Third  and  Fourth  Modes,  is     .     .     .  Mi. 

The  final  of  the  Third  Pair,  consisting  of  the  Fifth  and  Sixth  Modes,  is      ...     .  Fa. 

The  final  of  the  Fourth  Pair,  consisting  of  the  Seventh  and  Eighth  Modes,  is      .     .  Sol. 

The  final  of  the  Fifth  Pair,  consisting  of  the  Ninth  and  Tenth  Modes,  is    ....  La. 

The  final  of  the  Sixth  Pair,  consisting  of  the  Eleventh  and  Twelfth  Modes,  is      .     .  Ti. 
The  final  of  the  Seventh  Pair,  consisting  of  the  Thirteenth  and  Fourteenth  Modes,  is  Do. 

Each  Mode  has  also  a  note  round  which  the  phrases  of  its  melodies 
seem,  as  it  were,  to  cluster ;  this  note  is  called  the  Dominant. 

In  the  Authentic  Modes  this  is  the  fifth  above  the  final,  excepting  in 
the  Third  Mode,  the  Fifth  of  which  is  //.  Ti  is  a  variable  note,  beina 
sometimes  flat  and  sometimes  natural  ;  consequently,  it  cannot  be  used  as  a 
dominant  ;  Do  is  used  instead. 

In  the  Plagal  Modes  the  dominant  is  a  third  below  the  dominant  of  the 
authentic  mode  on  the  same  final,  excepting  when  such  note  is  ti,  as  in  the 
Eighth  Mode,  whose  dominant  is  therefore  Do.  The  Dominant  is  alwayj 
thej;eciting-note  of  the  Psalm-tone  of  the  Mode.  '^  ''       " 

The  remaining  six  modes  will  be  explained  later. 


CHAPTER    IX. 
On  the  Characteristics  of  the  Gregorian  Modes. 

In  order  to  appreciate  the  peculiar  character  of  the  melodies  of  the  dif 
ferent  Gregorian  modes,  we  must  become  acquainted  with  some  of  the  rules 
which  govern  the  construction  of  Melody. 

If  we  strike  the  key  C  ovl  the  piano  or  organ,  we  hear  a  single  sound. 
As  Melody  is  a  "  succession  of  different  sounds,"  it  follows,  that  even  if  we 
strike  the  key  C  a  number  of  times  we  do  not  make  a  melody.  To  have 
melody  we  must  have  motion.  There  is  nothing  about  the  sound  of  C 
which  tells  us  whether  to  move  higher  or  lower ;  for  any  single  sound  is 
necessarily  a  keynote,  because  our  first  impression  of  it  is  that  it  is  the  first 
note  of  a  scale.  Now  strike  C,  follow  it  by  D,  and  pause.  The  ear  asks  the 
question,  "What  next .?  "  because  it  is  not  satisfied  to  rest  on  D.     Now  play 


I 


GREGORIAN    CHANT. 


39 


D-C,  and  the  ear  is  satisfied.  Try  the  same  experiments  with  6  and  B, 
i  you  will  find  that  the  ear  is  not  satisfied  until  B  is  followed  by  C. 
ese  experiments //V7r  that  (T  is  a  Keynote  ;  because  a  Keynote,  or  Tonic, 
I  sound  having  a  sound  a  whole  tone  above  it  which  has  a  tendency  to  fall, 
i  another  sound  a  semitone  below  it  which  has  a  tendency  to  rise. 


/r\ 


<7s 


fl 


t--- 


x=±—v 


t:| 


The  following  melody  is  constructed  from  these  three  sounds  : 


f=t-=^-- 


:=rf:; 


■f=t- 


?-:f 


EF^FEE 


lib 


Now  flat  B 


/T\ 


tTTtrH 


^^ 


-(2- 


t=f--=t: 


-f^*- 


in 


:f=^= 


— p# — #  --^,5 IB 


tzzh_:;t:: 


r  is  no  longer  a  point  of  rest,  but  has  an  unmistakable  tendency  to 
to  B%  thus  proving  that  B}  has  become  the  keynote.  Try  the  follow- 
experiments  with  the  third  of  the  scale  : 


When  we  pause  on  E,  as  at  (a  )  and  (  b  ),  there  is  a  feeling  of  suspense, 
we  fall  to  D  or  rise  to  F,  the  feeling  of  suspense  is  still  greater.  We 
i  from  this  that  the  TAird  has  no  definite  progression. 

The  FonrtJi  of  the  scale  has  a  tendency  to  fall  to  the  third  : 


4° 


GREGORIAN    CHANT. 


The  FiftJi  of  the  scale,  like  the  third,  has  no  definite  progression  :      j 
5  5  - ' 


'X=X- 


^^ 


t=r 


^  ^ 


#~f* 


l=:f=^=t-^ 


^-^ 


t:=t=^ 


The  tendency  of  the  Sixt/i  is  \.o  fall  to  the  fifth  : 


:f^ 


f=f 


6 


-(2- 


-!$^ 


--t: 


t=^^=S: 


:^=:-t: 


The  character  of  a  melody  is  determined  by  the  predominance  of  c< 
tain  sounds. 

The  predominance  of  the  Fifth  lends  a  certain  spri,t;'htliness  and  gaye 
to  a  melody  : 

5         5 


:^=^: 


%-- 


- — F — I — -■— FP^ — 4 — •- 


;tf-=t:=t-~|:i 


=t^f: 


-A- 


g" 


The  character  of  the  TJiird  is  devotional : 
3 3 


::]i:i:p::1i=z=p=ii]zz:rq=zi_j -^ 


(S?- 


:J==1: 


t: 


:^: 


1-1==^ 


--i 


:^ 


The   Second  and    Fourth  tt^ll  us  of  hope,   and   the   Sixth    of  sorn 
(The  Si.xth,  as  we  have  seen,  is  the  ke3'note  of  the  Minor  Mode.) 


The  Second  and  Fourth. 

2 


■l5>-w 


-&~ 


^lE^l 


-b 


GREGORIAN   CHANT. 


41 


-(S>- 


t 


The  Sixth. 


EE^ 


=1- 


:^-=X 


:t^t: 


:f= 


The  following  specimens  include  a  characteristic  piece  ;  the  Psalm-tone 
and  the  solemn  Gloria  Patri  used  at  the  Introit  of  each  mode.    -; 

First  Mode.  Fjmlyl^e;  Dominant,  Zfcr;  Compass,  i^^  to  7?^'/  Principal 
Chord"'Re-Fa-La-Ri'* .  The  melodies  are  constructed  on  the  Minor  chord 
Ke-Fa-'La  and  the  Major  chord  Fa-La-Dd^;  consequently,  the  music  will  vary 
in  character  as  either  one  or  the  other  chord  is  used. 


Character  of  the  Mode,  GRAVE  and  SOLEMN. 


76. 


-3!^i!!=*nr 


L^ 


■■ 


?^. 


:M= 


Sta  -    tu  -  it     e  -   i     Do 


J§ 


mi-nus     te    -    sta-men-tum     pa 

Hi ■' 


CIS, 


^t- 


"♦~~B" 


-5 


:t 


'^. 


q; 


XK 


et        pri'n    -   ci  -  pern       fe      -     cit       e     -     urn :   ut      sit       il 


ti  -  i         di     -     sni-tas      in  oe       -       ter      -     num. 


F 


^ 


sa  -  cer  -  do 

Th j,^ 


i 


^^^^z.'^E^^^^^ 


Di-xit    Do  -  mi-nus  Do  -   mi  -  no  me  -  o,       se  -  de    a  dex  -  tris  me  -  is. 


■^ 


:1: 


:(:it:JL::!!:1: 


-■— ■■ 


rt 


GI6   -  ri  -  a     Pa  -  tri,   et    Ff  -  li  -  o,      et   Spi  -  ri    -    tu  -  i     San  -  etc. 


^^ 


t=. 


-X 


:j: 


ipiiiiit^; 


-a. — ■■-f-H- 


Sic     -    ut         e    -  rat     in    prin  -  ci'    -    pi  -  o,      et     nunc,    et     sem  -  per, 


42 


W^^i^i— 


GREGORIAN    CHANT. 


-I— 


-i'    et     in       see-  cu-la     sae  -  cu-l6-rum.  xA.  -  men. 


/r' 


Second  Mode. ^  Einal,  i^^;  Dominant,  /vz ;  Compass,  La^to  La ;  Princi- 
pal Chord,  Lai-Re-Fa-La.  The  melodies  are  included  principally  in  the 
Minor  Chord  Re-Fa-Ka. 


Character  of  the  Mode,  MOURNFUL. 


78. 


4^ 


:J=F: 


-■■—♦-■-1-1 


:?5=Sf:="^-^rt^EK 


Im-pro-pe  -  ri-um   ex-pe  -  eta  -  vit  cor    me  -  urn,  et    mi  -  se 


:1=^5' 


ri  -  am 


-X 


:1' 


-^^^ 


et     su  -  sti        -       nu-i,      qui     si  -    mul  me  -  cum  con-tri -sta  -  re'    -    tur, 
et  non  fu  -  it:  con-so-lan-tem  me  quse-si    -  vi,      etnonin-ve  -  r 


tD 


79. 


HH^ — jl 


:»z^iS^::z^=s4tf^ 


-% 


E 


-P 


"f.   P6    -    pu  -  le  me   -    us,      quid      fe    -    ci      ti     -     bi  ?    aut      in 


^s. 


— jj 


quo 
80. 


con  -  tri    -    sta    -    vi         te  ?         re  -  spdn  -  de       mi    -    hi. 


!^=^-T-;.!='!^:rrrf!=Siz^5^^?^^=!rP5^« 


!■!-:» 


t 


.^. 


G16  -  ri  -  a  Patri,  et  Fi'lio,  et  Spi  -  ri  -  tu-  i  Sane -to.    Si -cut  erat  in  prin-cipio, 

::tj 

et     nunc,    et    sem  -  per,  et      in      soecula  sa-cu-lo-  rum.  A  -  men. 


-5^—^ 


gq-zj'z^-izi- H^ 


8 1 .    Psalm  Tone. 


^?Ei^ 


==i: 


-♦— ■- 


:t- 


--■X 


De    pro-fundis  clamavi  ad  te,    Do  -  mi-ne  :   Domine  exaudi  vo-ce 


m  me  -  am. 


GREGORIAN   CHANT.  43 

Third  Mode.     Final,  Mi ;  Dominant,  Do^;  Compass,  Mi  to  Mi^;  Prin- 
:ipal  Chord,  Mi-Sol-Do\  \ 

Character,  BRILLIANT  and  COMMANDING. 
82. 
^  -■ ♦— ■ 


E^:E^5^^^55t=3K=p^»:   ^ 


J  ^=b±:::=3— ■— K-i=d=z^-:7pzjz 


In  n6  -  mi  -  ne   Je  -  su   o  -  mne  ge  -  nu   He  -  eta  -  tur, 


^ — a — «■ — ♦ — ■ — — « -fj- — * — . ^ 1 — I — i- 


q»i- 


coe  -  le  -    sti  -  um,     ter     -  re         -     stri  -  um.     et     in  -  fer  -  no    -    rum 


et      o  -  mnis  li'n-gua    con  -  fi    -  te  -  a     -    tur,       qui  -  a       D6-mi-nus 


=■— ■ _ wrmr — 'm  \  ■■--■h — « — ■■ — --i — ■ — ■ — ■-■»-■ M 

H      * 1 1 — I — *3 1 — -♦ — ■ — -*-h-B«-| "■  --♦♦"♦y — ,      1 1 

Je  -  sus       Chri  -  stus     in       gl6  -  ri  -  a       est    De    -    i       Pa         -        tris. 

83. 

___ 1 — ^ 1 1 

Si"-]-  P^ ^  ^^^^■— ■-  h"'    ♦-■^a    _zrjrftjj 

G16  -  ria  Patri,  etFilio,  et  Spi-ri-tu-  i  San-cto. 
Sic  -  ut  erat  in  principio,  et  nunc,  et  sem  -  per, 
et     in     ssecula        sse  -  cu-16-rum.  A  -  men. 


84.     Psalm-tone. 

^     V  ■  ^  ♦  ■  ■■  ■  ■  i  ^ 

l^^_ 

. 

J 

'^^^ 

_ 

i"i 

■     ■                 '                  ■  ■         1 

^j*^.m_JJ 

Lau-da  -   te,  pii  -  e  -  ri,  D6-nii-num.    Lau  -  date      no  -  men     Do  -    mi  -  ni. 

Fourth  Mode.     Final,  Mi;   Dominant,  La;  Compass,  Ti^  to  Ti ;  Princi- 

•al  chords,  Re-Fa-La  and  Do-Mi-La. 

Character  of  the  Mode,  MYSTICAL. 


I 


44  GREGORIAN    CHANT. 

et     noil    est  qui    pos  -    sit     re  -  si  -  ste  -  re    vo-  km  -  ta  -  ti        tu     -    ae 


;^=^^^=^=^i-,^^==^ 


tu     e     -     nim  fe  -  ci  -    sti       6         -  mni  -  a,       cce-Ium  et     ter  -  ram, 

et     u   -  ni  -  ve'r  -  sa,  quae  coe  -  li      am  -  bi  -  tu       con  -  ti  -  ne'n     -     tur  : 

^  =1=  H ■■— ,^h-=l--,— ~m 

Do     -     mi  -  nus    u    -  ni  -  ver  -  so  -  rum  tu  es.  | 

i 

86. 

, [I I^ Zl IL ip -"-j^ 

Gld-  ri  -  a    Patri,  et  Fi'lio,     et  Spi  -  ri  -  tu  -  i     San-cto. 

Sic    -     ut  erat  in  principio,         et     nunc,     et    sem-per, 

Et  in        specula see-  cu  -  16-rum.  A-men. 

87.     Psalm-tone. 


idz^z:^E;::^^i^^"=:^z:----Ji 


Lau  -  da     Je  -  rii  -  sa  -  lem  T36  -  mi-num.  Lauda  Deum  tu  -    um,     Si  -  on. 

Fifth  Mode.     Final,  Fa  ;   Dominant  IJo^;  Compass,  Fa  to  Fa' ;  Princi- 
pal Chord,  Fa- La -Do'. 

^^  Character  of  the  Mode,  JOYFUL. 

88.      ^--^ 

(    ^^— — ■, — ♦  — ■ — -"i^a-^^aai^^^P-a—            ■  — -i*^^^^^^^li" — -■^♦^— iJ 
-1^ — ■  —  *    —\-m ■ — ■-  ■  -  1 — l-i- 


Fi  -    li     -  ae         re     -     gum        in       ho  -  no  -    re         tu    -    o, 
a     -     sti  -  tit     re  -  gf         -        na  a         dex     -     tris     tu      -      is 


GREGORIAN    CHANT. 


45 


^■HrTiini,=zi=z^zi«% 


in      ve  -  sti  -  tu      de       -       au     -      ra       -       to,     cir  -  ciim-da  -  ta 


va     -     ri  -  e     -      ta         -  te. 


89. 


-h  -■   =:J^~a-«^-^^ 


G16-ri-a     Patri,  et  Filio,  et  Spin'tui     San-cto. 
Sic-ut  erat  in  princi'pio,  et  nunc,  et  sem-per,    et    in  saecula  siecu-16-ium.  A-men. 

00.    Psalm-tone. 


"a-  ^ =-=J: =E ^— I*— i|-»z«jl 

Lau-date     Dominum,  omnes  gen  -  tes.       Laudate  euni,      o  -  nines  p6  -  pu-li. 

Sixth  Mode.     Final,  Fa;    Dominant,  La:   Compass,  Bo  to  Do' ;   Princi- 
al  Chord,  /^^-'-/vz-Zrt  (  practically,  So/^-Bo-A/i  ). 


Character  of  the  Mode,  DEVOTIONAL. 


91 

lit: 


PL^i5^iia^=:-^5-^.^i*t^ 

li-hi       in     De  -   um    pro-tec-t6-reni,  et   in  lo-cum  re  -  fu  - gi  -  i, 

-" — »--[ — a^ — ♦— a-j-a^H — ^^^ —  h — " — ■h*«— a-k  i- 


ut     sal-vum  me      fa   -    ci-as:  qu6  -  ni-am    fir- ma-men-tum  me    -    um, 

i ^  ""— ^a  ^ —\^ m — a — -  -  -  -aa      ■    i- 

et    re  -  fu    -   gi-um    me-um    es  tu  :  et  pro-pter  no-men      tu  -  um 


•^  raiz-Vr^a-i=i:z-.W 


:fl 


dux    mi  -  hi     e     -    ris,    et       e  -  nu     -     tri  -  es     me. 
92. 

G16  -  ri  -  a  Patri,  et  Fflio,  et  Spi-ri  -  tu  -  i  Sanc-to.  Sic  -  ut  erat  in  princi'pio, 


46 


GREGORIAN   CHANT. 


I 


t- 


"» — ■' 


--q: 


4^ 


et  nunc,  et    seni  -  per,  et      in      sse   -   cu  -  la     sae  -  cu  -  16  -  rum.    A-men. 


93. 

Psalm-tone 


't 


t- 


=5 


-♦— ■- 


Lae  -  ta-tus  sum  in  his  quae  dicta  sunt  mi  -  hi;  in  domum  D6-mi-ni    i  -  bi-mus. 

Seventh  Mode.  Final,  So/;  Dominant,  Re;  Compass,  So/  to  So/*' 
Principal  chord,  So/-Ti~Re^-Fa'.  These  sounds  form  the  Chord  known  a 
the  CJiord  of  t/ie  Dominant  ScventJi.  


Character  of  the  Mode,  EXPECTANT,  HOPEFUL. 


94. 


.^.^^ 


A   ■  ■-■■■ ZS_"Td 


Di     -      ci  -  te  :    pu-  sil  -  la 


ni-mes,  con  -  for    -    ta 


et  no  -  li  -  te  ti-me 


t^^>!"4^: 


:^- 


ec   -   ce  De-us  no- ster  ve       -        ni-et. 


et     sal  -  va 
95. 


bit  nos. 


G16    -    ri-a  Pa-tri,  et  Fi-li-o,    et  Spi-ri  -   tu-iSan-cto,   Sic  -  ut    e-rat 


fE-^S 


V- 


^i-n-^t^:-'^: 


^ 


in  princi  -  pi-o,    et  luinc.etsem-per.    et    in  SEe-cu-!a  SEe  -  cii-lo-rum.  A  ■  MEN, 


96. 


!q 


":|: 


'^J^E^^^^:^. 


=^-^^ 


Me-me'n-to  D6-mi-ne    Da-vid:    et      o-mnis  man-su-e-tu  -  di-nis  e  -jus. 

Eighth  Mode.     Final,  So/ ;   Dominant,  Do'';  Compass,  Re  to  Re\-   Prin 
cipal  Chord,  Mi-So/-Do\ 


GREGORIAN   CHANT. 
Character  of  the  Mode,  JUBILANT. 


47 


97. 


Al-  le 


lu  -  ia. 


♦ — ■— ■ — ■■■n 

"jl-" — I — 4- 


^4 


t» 


.gq    ♦  ■-■'♦^^^^jp 


.^.  Con  -  fi  -  t6  -    mi  -  ni      Do 
-1^     ♦^- ■ 


mi -no,    qu6     -    ni-am    bo     -     nus : 


— =!■ 


-^- 


■q: 


qu6     -     ni-am  in      sse.    -     cu-lum     mi  -  se  -  ri  -  cor  -  di  -  a      e 


jus. 


98. 


wBaz 


t 


--t 


:p: 


■q- 


G16    -    ri  -  a    Pa  -  tri,    et    Fi    -  li  -  o,    et    Spi  -  ri    -    tu  -  i     San-cto. 

■ — ■—■—■-—■■ — ■--■■ — ■-(-■ ■ — ■—■—■-I- 


Sic -Lit    e  -   rat  in  prin-ci -pi  -  o,     et    nunc,  et    sem-per,  et    in      S£e-cu-la 
sae  -  cu  -  1(5  -    rum.  A-men, 


99. 


^^^:^^ 


■ ^ ii 


Lau-  da  -  te  Do  -  mi-num,  o-mnesgen-tes.  Lau-da  -  te    e  -  um,  o-mnes  p6  -  pu-  li. 


I 


CHAPTER    X. 
ON    THE   SIX  TRANSPOSED   MODES. 


The  six  Transposed  Modes  are  the  Ninth,  Tenth,  Eleventh,  Twelfth, 
'hirteenth,  and  Fourteenth.  In  the  following  diagram  these  modes  are  com- 
ared  side  by  side  with  the  modes  which  are  used  in  their  stead.  It  will  be 
sen  that  the  Fa  of  the  original  mode  becomes  Ta  in  the  transposed  mode, 
'he  uneven  numbers  are  the  Authentic,  and  the  even  the  Plagal,  modes, 
'he  Finals  and  Dominants  are  printed  in  larger  letters. 


I 


48 
gth. 


la' 

-sol' 

-fa' 
Mi' 

-re'- 

-do' 
-ti 

La 


ISt. 


re' 

do' 

ta 
La 

sol 

fa 
mi 

Re 


loth. 


2d. 


mi' 

re' 

Do' 

ti- 

La- 

sol- 


GREGORIAN  CHANT, 
nth.  3d.  12th.  4th. 
—mi' 


ti' 

la' 

kol' 

-fa' 
mi' 

re' 

do' 
ti 


-re' 

-do'- 

ta 
la 

sol 

fa- 
mi 


i-fa' 
Mi' 

re' 

do' 
Ti 


ta 
-La 

sol- 
fa 
Mi 


13th. 
do" 
-ti' 

la' 

-Sol' 

fa' 
mi' 

re' 

Do'"^ 


Ua 


5th. 

fa' 
mi' 

re' 

-Do' 

ta 
la 

sol 

Fa 


-fa- 
mi 


sol 
fa- 


-re-i 
-do- 
ta, 


14th. 


sol' 

fa' 
Mi' 

re' 

Do' 
ti- 

la 

sol 


6th. 


do'- 

ta- 
La- 

sol- 

Fa- 
mi 

re 

do 


—la 

sol 

-Fa 
-mi 

-Re 

do 

— ta, 

-la, 

The  following  are  specimens  of  the  transposed  modes.      It  will  be  nc 
ticed  that  <'?// the  ffs  are  flattedT'  ~^  ^~~~~~ 

Ninth  Mode,  Transposed  to  First. 


Gau  -  de  -  a    -    mus     o  -  mnes    in 


R 


:U 


^ 


mi -no,     di  -  em    fe-stum 


:^5:^: 


d- 


ce  -  le  -  bran  -  tes    sub  ho  -  no 

A y   ^.        m-     

-— ■— B^-a — ■— «  ■— ♦■ — I — _"'^"nr 


re      be  -  a    -  tae  Ma  -  ri  -ad 


de    cu  -  jus 


As-sum-pti-(') 


So  -  le-mni  id 

li  -  um  De 

Tenth 


^■■y— ♦— «r"-«q^ 


Fi 


-  ne 

-  te 

0- 

■■■- 

■■?**5^ 


o-au-dent  an 


ge  -  li, 


I — 


Vi'r  -gi-nis : 


li,      et  col-lau  -  dant 


lode,  Not  Transposed. 


I 


^,~^_- ♦^  .-[§i:!^.^:i^it3."'dH:  ♦;^-,3-.,-t.j^^^^ 


Do  -  mi-ne    re-fu 


2:i-um  fa 


ctus  es 


bis 


GREGORIAN   CHANT. 


49 


a  ge-ne-ra  -  ti  -  6  -         -         ne     et  pro  -  ge   -  ni  -  e. 

y.  Pri  -  us-quam  mon-tes  fi  -         e-rent,  aut  for-  ma  -  re  -  tur    ter      -     ra 

et    or        -         bis :  a     s^  -  cu  -  lo,      et    us  -  que  in    see  -  cu-lum 

^-«  — ■  —m^^^ — ■■■-■ — ^ 
tu    es    De  -  us. 

Twelfth  Mode,  Transposed  to  Fourth. 
102. 

S^ZZ ■— ■■■--■^♦■'— Fin"— i^-ii"*^-— "iB— j"-^--"  — ■■•♦♦■-i, — "3^ 

■ — ■■  — "" 1  -^"-h-^ — '■"^'■— ■■'-■■-fr ■-^— «,-  ■-- 

Al  -  le    -    III     -     ia,  al    -    le'         -       lu  -  ia.  f.  E  -  mi't      -      te 


Spi  -  ri-tumtu   -    um,  et  ere  -  a  -  bun         -  tur  :  et  re-no-va-bis 

fa      -        ci-em    ter      -      ra;. 

[Thirteenth  Mode,  Transposed  to  Fifth. 
103. 

Al  -  le  -  lu     -      ia.    al  -   le  -  -  lu  -  ia.    Fac  nos 

in  -  no-cu-am,    Jo  -    seph,de-cur    -  re -re      vi  -  tarn  :  sit  -  que  tu    -    o 

1^_ 

sem  -  per    tu  -  ta      pa  -  tro  -  ci       -       ni  -  o.     Al  -  le 
lu  -  ia. 


I 


so 

104 


GREGORIAN    CHANT. 
Fourteenth  Mode,  Transposed  to  Sixth. 


^ ■ — r  ■■■■^  ■  I  ■  I  ■— "n**! 


^-^tj- 


Pa 


nem  coe 


li     de  -  dit  e      -      is  :  pa  -  nem  An  -  ge  - 16 


^t; 


rum   man-du  -  ca  -  vit      ho 


z=f-"ijj 


CHAPTER    XL 


ON    PSALMODY. 


To  secure  a  proper  method  of  chanting  the  Psalms  (  Psahnody )  is  one 
of  the  greatest  difficulties  of  the  choirmaster.     Each  of  the  Eight  Modes 
has  its  own  Psalm-tone,  and  each  Psalm-tone  requires  a  different  division  of. 
the  words.     The  verses  of  the  Psalms  consist  of  two  parts  separated  by  an 
asterisk. 

A  Psalm-tone  consists  of  five  parts  :  ( i )  the  Intonation,  which  consists  of 
two  or  three  notes  leading  up  to  (  2  )  the  First  Re  citing-note,  which  is  fol- 
lowed by  a  melodic  phrase  called  (3)  the  Mediation,  and  (4)  the  Second 
Reciting-note,  which  is  followed  by  (  5  )  the  Termination,  or  Ending. 

In  fitting  the  words  of  the  Psalm-verse  to  the  Psalm-tone,  the  words 

terminating  at  the  asterisk  belong  to  the  Intonation,  First  Reciting-note,  and 
Mediation  ;  and  the  words  following  the  asterisk,  to  the  Second  Reciting- 
note  and  the  Termination.  If  all  the  Psalm-tones  were  made  on  the  same 
model,  and  all  the  verses  of  the  Psalms  had  the  same  accentuation  of  the 
words  assigned  to  the  Mediation  and  Termination,  our  task  would  be  easy  ; 
but,  unfortunately,  such  is  not  the  case.  The  examples  on  page  5  i  exhibit 
the  Eight  Psalm-tones  with  one  termination  to  each. 

The  Intonation  is  used  for  the  first  verse  only  of  the  Psalm,  and  for 
every  verse  of  the  Magnificat  and  Benedictus. 

From  this  example  it  will  be  seen  that  we  must  have,  for  the  Mediation, 
one  pointing  for  the  Second,  Fifth  and  Eighth  Tone  ;  another  for  the  Third, 
Fourth  and  Seventh  ;  one  for  the  First  and  one  for  the  Sixth  ;  making  in  all 
four  different  pointings.  For  the  Termination,  three  different  pointings  are 
given  here,  and  for  the  last  ending  of  the  P^ourth  Tone  another  is  required. 


GREGORIAN   CHANT. 


5* 


Intonation,  ist  Recit.-note.     Mediation.  2d  Recit.-note.  Termination. 


St. 


^ 


:^ 


Con-  fi  - 


Id. 


d. 


Con  -  fi- 


Con-fi   - 


^th. 


th. 


Con-fi 


Con  -  fi 


th. 


■^  ■ 


Con  -  fi 


th. 


-$i-« ■■: 


Con  -fi 


1th. 


I 


?^^if 


Con  -  fi 


tebor  tibi, 
D6mine,  in  to-l  to     cor-de  me  -  o 


tebor  tibi, 
Domine,  in 
toto  corde 


tebor  tibi, 

Domine,  in 

toto 


te-bor  tibi, 

Domine,  in 

toto 


tebor  tibi, 

Domine,  in 

toto  corde 


tebor  tibi, 
Domine,  in 
toto  cor   - 


tebor  tibi, 
Domine,  in 
toto 


tebor  tibi, 
Domine.  in 
toto  corde 


cor  -  de      me  -   o: 


'-^' 


cor-de  me  -  o ; 


de  me  -  o 


cor  -  de  me    -  o  : 


in  consi'lio 
justorum  et 
congre    - 


in  consiUo 

justorum  et 
congrega  - 


in  consiHo 
justorum  et 
congrega  - 


in  consilio  et 
justorum  et 
con 


in  consilio 
justorum  et 
congre     - 


in   consilio 
justorum  et 
congre 


in  consilio 
justorum  et 
congre    - 


in  consilio 
justorum  et 
congre    - 


^^¥ 


ga-  ti-  6  -  ne. 


ti-  o  -  ne. 


ti  -  o  -  ne. 


gre-ga-ti-o-ne. 


2.a  -  ti  -  o-ne. 


^- 


ga  -  ti  -  o-  ne. 


d: 


sra-ti  -  o-ne. 


^^^ 


ga  -  ti  -  o  -  ne. 


52 


GREGORIAN   CHANT. 


I 


As  it  is  absolutely  necessary  that  the  choir  be  provided  with  a  pointecJ 
edition  of  the  Psalms,  separate  from  the  Vesperale  or  Antiphonarium,  we 
will  not  enter  into  any  discussion  of  the  various  nictJiods  which  have  been 
put  forth  from  time  to  time.  Whatever  method  is  adopted,  it  will  be  explained 
in  the  Preface  of  the  work  in  question 

In  teaching  the  chanting  of  the  Psalms,  the  teacher  should  hrst  read 
the    Psalm   through  word   by  word  ;  the   class  immediately  repeating  each  | 
word  after  him,  taking  care  that  all  pronounce  the  word  together,  thus:  —  \ 
€on-fi-te-bor :  con-fi-te-bor  ;  ti-bi :  ti-bi ;  D6-ini-iic  :  Do-mi-ne  ;  etc.  : 

After  this  the  teacher  should  read  two  or  three  words  at  a  time,  the; 
class  repeating  thus  : — cojifitebor  tibi  Domine :  confitebor  tibi  Domine  ;  in  toto :  ■ 
in  toto;  cort/e  nieo :  corde  meo ;  in  con-si-li-o  ju-sto-ruin :  in  con-si-li-o  ju-sto- 
rum;  et  con-gre-ga-ti-6-ne:  et  con-gre-ga-ti-o-ne.  .  The  whole  Psalm  should  then 
be  sung  upon  one  sound,  for  instance,  G  or  A,  takhig  care  that  every  word 
is  pronounced  correctly,  distinctly,  and  slowly.  After  this  it  may  be  sung  to 
one  of  the  easier  tones  (Eighth  Tone,  ist  ending;  or  Sixth  Tone).  In 
chanting  the  Psalms  the  same  rate  of  speed  should  be  maintained  throughout 
each  verse  :  that  is  to  say,  the  very  common  error  of  singing  the  mediations 
and  terminations  slowly,  and  the  recited  parts  quickly,  should  be  avoided. 

There  are  two  ways  of  singing  the  Gregorian  Psalm-tones,  the  Festival 
and  the  Ferial.  The  Festival  is  used  on  Doubles  and  Semi-doubles,  and  the 
Ferial  on  Simples  and  Ferias. 

As  the  ordinary  choir  has  generally  to  sing  on  Sundays  and  Holydays, 
besides  Holy  week  and  at  Funerals,  the  following  rules  are  given  for  ordi- 
nary use  :  — 

The  Festival  Tone  is  used  on  all  Sundays  and  Holydays  throughout 
the  year  ;  at  the  Office  of  the  Tenebrae  and  at  the  Office  of  the  Dead  (  Ma- 
tins, Lauds  and  Vespers )  on  All  Souls'  day,  and  at  funerals  when  the  body 
\  is  present  ;  also  on  the  third,  seventh  and  thirtieth  day,  and  the  anniversary. 
The  Ferial  Tone  is  used  for  Compline ;  for  the  Psalm  Deus  in  adjutorium 
after  the  Litany  of  the  Saints  ;  and  a  few  other  occasions  of  minor  importance. 

The  following  are  the  Eight  Tones,  Festival  and  Ferial,  with  their 
endings. 

FIRST  TONE;  Festival. 

Int.  1st  ending". 

p  , ., ^^-■i2B-  ■— ■■_i«r[E["iiiz:i-:-B":-B_-  T! 


Pri-mus    tonus  sic  incipitur  et  sic    me  -  di  -  a   -  tur      et  sic    fi  -  ni  -   tur. 


GREGORIAN    CHANT.  .. 

2d  ending.  3d  ending.  4th  ending.  5th  ending. 

;  sic      fi  -  ni  -  tur.   sic      fi   -  ni     -     tur.  sic      ft  -  ni  -  tur.   sic     fi  -  ni  -  tur. 

The  following  endings  are  also  found  in  the  Solesmes  editions  : 


sic    fi-  ni  -  tur.     sic    h  -ni'-tur. 
FIRST   TONE  :  Ferial. 


±t=r, 


"11 


',  ^     *  '  *     ■      *~T|  The  endings  are  the  same  as  the  Festival. 

Primus  Tonus  etc.  me- di  -  a  -  tur. 

In  the  Ferial  tone  the  Intonation  is  omitted.  This  rule  applies  to  all 
the  Tones. 

As  there  is  only  one  word  in  the  first  part  of  the  first  \-erse  of  the 
Magnificat,  it  is  sung  as  follows  :  — 


L  Mag-ni  -  fi-cat     anima       me  -  a     Do  -  mi-num, 

(The  Intonation  is  used  for  every  verse  of  the  Magnificat  and  Benedic- 
tus.) 

Et    ex    -  ul  -  ta  -  vit    spi  -  ri  -  tus   me  -  us. 
Et     e  -    re  -  xit 
Th^Second  Tone  has  only  one  ending : 


4?   B-V 


-F«  -♦"-« — ■ — ♦ — ■ — ■  — ■— ff- 


:M= tzzzzzirij'jj 

Di  -  xit     Do  -  mi -nus.  Do  -mi -no    me  -  o:      Se  -de      a     dex-tris    me  -  is. 
When  the  first  part  of  the  Psalm-verse  ends  with  a  monosyllable  or  a 
Hebrew  proper  name,  the  last  note  of  the  mediation  is  omitted. 


zzzz— ■— ]: 


Per  diem  sol  non  uret  te. 

Adjiciat  Dominus  super  vos. 

Qucjniam  elegit  Dominus  Si    -    on. 
Ecce  audivimus  earn  in  Ephra  -  ta. 

This  is  known  as  the  risiui;  i)i flection. 


^4  GREGORIAN    CHANT. 

The  Ferial  of  the  Second  Tone  is  the  same  as  the  Festival,  excepting 
that  the  intonation  is  omitted. 

The  Solemn  Intonation  for  the  Canticles,  Magnificat  and  Benedictus  : 

-S§iz=iziqii=z:FFii^i==,,,==i:==j 

-^— ■■— ^ [t "— ■— B— ♦-«-jj 

Ma-s'ii-ficat    anima    me- a    D6-mi-num, 


et     exultd        -       vit      spf  -  ri  -  tus  me  -  us. 
Be  -nedictus  D6mi-nus,    De  -  us  I  -  srael. 

The  second  part  of  the  verse  is  sung  like  the  ordinary  Psalm. 

The  Third  Tone  has  four  endings  : 

1st  ending. 

r"j±irJz:ztqZ_ ^-j— — ■■-_— tt^  z  :-:— --z:r5--tz=""r1j 

Di  -  xit     1)6  -  mi  -  nus,  Do  -  mi  -  no     me   -  o  :  Se  -  de      a    dex  -  tris  me  -  is, 
2d  ending.  3d  ending.  4th  ending. 

dex  -  tris  me  -  is.  dex  -  tris   me  -  is.     dex  -  tris  me  -  is. 
Omit  the  Intonation  for  the  Ferial  Tone. 


fl 


Ma-gni  -  fi  -  cat      a  -  ni  -ma  me  -  a  1)6  -  mi-num,  et  exultavit  spf  -  ri-tus  me  -  us. 

The  Fourth  Tone  has  three  endings  : 

1st  ending. 

Lau-da       Je  -  ru  -  sa-lem  Do  -  mi-num:  Lau- da    De  -  um    tu  -  um,  Si  -  on. 
2d  ending.  3d  ending. 

tu-um,   Si  -  on.      tu  -  um,  Si  -  on. 


GREGORIAN   CHANT.  55 

The  rule  for  monosyllables  and  Hebrew  proper  names,  given  under  the 
heading  of  the  Second  Tone,  applies  to  this  tone  also. 


5=? 


azp 


Gloridse  enim  magnifi  -  ca  -  tus  est. 
Ascend^runt  p6puli  et  i  -  ra  -  ti  sunt. 
Convertere  Ddmine  us  -  que  quo. 

voluntate  tu    -    a       Si -on. 


Omit  the  Intonation  for  the  Ferial  Tone. 


-»-ffii — ♦-  ■ — B«-*  -  aM^^^H^^a— ,»-■—■-■-,— ♦  -■-^— «-41 


Ma  -  gni  -  fi  -cat     a  -  ni  -  ma  me  -  a     D6-mi-num,  et  ex  -  ul-  ta-vit  spi  -ri-tus  me  -  us. 

The  Fifth  Tone  has  one  ending  : 
S"^:=:1 — ■— ■ — ;r=^l,="ii:--:i;z:ii3ff«— ■ — a-za —       a__-:i::iT| 


Lau-da  -  te     pii  -    e  -  ri     D6  -  mi-num.Lau -da  -   te     no  -  men  Do  -  mi-ni. 
The  rule  for  monosyllables  and  Hebrew  proper  names,  given  under  the 
heading  of  the  Second  Tone,  applies  to  this  tone  also. 
Omit  the  Intonation  for  the  Ferial  Tone. 

The  Magnificat  is  sung  thus  : 

Ma-gni  -  fi  -  cat    a  -  ni  -ma  me  -  a  Do  -  mi-num,et  ex  -  ul  -  ta  -  vit  spf  -  ri-tus  me-us. 
The  Sixth  Tone  has  one  ending: 


:Ffi=:iri=-i__._..fl 


Sex- tus      tonus   sic  incipitur,  et   sic         me-di  -  a  -  tur,  at -que  sic  fi   -  nf-tur. 

Omit  the  intonation  for  the  Ferial  Tone. 

The  intonation  of  the  Magnificat  is  the  same  as  that  of  the  First  Tone  ; 
but  in  some  editions  it  is  given  as  below  : 

—  — -^^^ '  j-M \^ ■■    ♦^^ — m^^ 


Ma-  gni-     fi  -  cat         anima     me  -  a      Do  -  mi-num,   et       ex  -  ul  -  ta  -  vit. 


56 


GREGORIAN    CHANT. 


The  Seventh  Tone  has  five  endinos 


1st  ending.  2d  ending. 


Di-xit  D(5minus,D6-mi-no  me  -  o  :   Sede  a  dex-tris  me  -  is.    Sede  a  dex-tris  me-is. 
3d  ending.  4th  ending.  5th  ending. 

Sede  a  dex-tris  me  -  is.    Sede    a  dex-tris  me-  is.      Sede  a  dex  -  tris  me  -  is. 
The  Ferial  Tone  is  as  follows  : 


3 :'^i:j 


Eripe  me  Domine  ab  ho  -  mi-  ne   ma  -  lo. 
The  intonations  for  the  Magnificat  are  two,  as  follows  : 

Festal. 

^^^-'-  — hr* 1     *    ■— ♦  ■■-h^f-  -*  -■ ■='^^ 


Ma  -gni'-ficat  anima  me  -  a    Do  -  mi-num,  et     ex  -  ultavit  spi  -  ri-tus  me  -  us. 
Solemn. 


Ma  -   gni'-ficat  anima   me-  a    Do -mi-num,    et         ex   -    ul  -  ta  -  vit,  ( etc.) 
The  Eighth  Tone  has  two  endings  : 

I  St  ending.  2d  ending. 


Di  -xit  D6-mi-nus, Domino    me  -  o  ;  Sede  a  dex-tris  me-  is.  Sede  a  dex-tris  me  -is. 

Omit  the  intonation  for  the  Ferial  Tone. 

The  intonation  for  the  Magnificat  is  the  same  as  for  the  Second  Tone, 
which  see. 

The  Perigrine  Tone  is  used  for  the  "  In  exitu  Israel,"  in  the  Common 
Sunday  Vespers,  when  the  antiphon  is  "  Nos  qui  vivimus." 

In     exitu    I  -  sra-  el    de  ^-gyp  -  to,     Domus   Jacob  de  p6-pu  -  lo  bar-ba  -  ro. 
This  is  sometimes  called  the  "  Irregular  Tone,"  because  it  has  a  different 
reciting-note  for  each  part. 


GREGORIAN    CHANT.  57 


CHAPTER    XII. 
ON   THE    RENDITION    OF   CHANT. 

As  the  notes  oi  Chant  have  no  definite  vakie  of  their  own,  but  are 
tirely  dependent  upon  the  words,  it  may  be  supposed  that  we  will  give  a 
proper  rendition  of  Chant  if  we  sing  the  notes  with  proper  regard  for  the 
accent  and  quantity  of  the  syllables  to  which  they  are  set,  and  understand 
and  give  proper  expression  to  the  words  of  the  piece.  Such  will  be  the  case  in 
pieces  which  have  but  one  note  to  a  syllable  ;  but,  as  we  have  seen,  there  are 
many  pieces  in  which  the  syllables  are  set  to  groups  of  notes.  These  note- 
groups  are  called  pueuvics  (anglicised  into  ;/^//;^;zj-),  though  this  name  would 
seem  to  belong  more  properly  to  the  assemblage  of  note-groups  sung  on  one 
brcatJi.  These  various  ncmns  were  represented  in  the  old  Mss.  by  various 
fanciful  signs,  instead  of  the  notes  now  in  use.  A  few  such  signs  are  still 
retained  in  modern  music  :  thus  we  have  the  tuni^  the  trill,  the  mordent ; 
and  students  of  Bach  and  the  other  old  masters  will  recall  several  others. 
There  is  ample  evidence  to  show  that  the  meaning  of  these  neums  was 
exceedingly  obscure:  thus,  ihe podatus  (a  lower  followed  by  a  higher  note), 
and  the  clivis  ( a  higher  followed  by  a  lower  note  ),  might  mean  an)'  interval 
from  a  semitone  to  a  perfect  fifth.  The  same  uncertainty  existed  with  regard 
to  the  other  neums  ;  for  it  must  be  remembered  that  for  several  hundreds 
of  years  these  neums  were  not  looked  upon  as  being  composed  of  separate 
definite  sounds,  but  were  regarded  as  twists  or  inflections  of  the  voice,  and 
their  interpretation  depended  a  good  deal  upon  the  singer. 

In  these  old  times  there  were  very  few  books  of  chant,  and  as  these  few 
were  exceedingly  valuable  the  singers  did  not  use  them,  but  learned  their 
chant  by  ear.  One  book  stood  in  the  middle  of  the  choir  for  the  use  of  the 
director,  who  most  probably  regarded  the  figures  of  the  neums  as  pictures  of 
the  various  portions  of  the  melody,  and  reproduced  the  forms  of  these  pictures 
before  the  singers  with  his  hands  in  much  the  same  way  as  a  modern 
conductor  beats  the  figures  representing  the  various  time-signatures,  thus 
helping  the  singers  to  remember  the  various  chants.  There  is  very  little 
doubt  that  with  each  succeeding  generation  of  singers  sHght  changes  crept  in. 
It  is  only  upon  this  supposition  that  we  can  account  for  the  many  variations 


58 


GREGORIAN    CHANT. 


of  the  chant  which  are  found  in  various  countries  and  which,  for  want  of 
better  name,  may  be  called  Chant  Dialects.  Guido  d'Arezzo  was  the  first  tc< 
discover  that  these  neums  were  not  merely  twists  or  inflections  of  the  voice ' 
but  could  be  resolved  into  several  separate  sounds.  He  invented  ( i.  e.,  com-, 
pleted )  the  staff,  and  so  made  it  possible  to  learn  Chant  in  three  months,  a;; 
task  which  before  his  time  required  from  seven  to  ten  years.  Of  course,  his- 
interpretation  of  the  neums  was  in  accordance  with  the  particular  dialect  o\ 
chant  which  he  had  learned  by  ear  in  his  youth.  As  an  example  of  the 
variations  which  thus  crept  into  the  chant,  we  give  the  tune  of  the  hymm 
"  Pange  Lingua"  as  it  appears  in  the  four  chant  books  best  known  in  this 
country,  namely,  the  Montreal,  the  Ratisbon,  the  Solesmes,  and  the  Mechlin-. 
Two  of  these,  the  Montreal  and  the  Ratisbon,  give  the  melody  in  the  First 
mode,  and  the  other  two  place  it  in  the  Third.  In  these  examples  we  see 
not  only  four  totally  different  interpretations  of  the  neums,  but  also  two  dif- 
ferent readings  of  the  intervals  of  the  tune. 
Montreal. 


4? 


Ratisbon. 


--^: 


Mechlin. 


??=-: 


Solesmes. 


"1: 


ii 


q: 


_!-■ 


Pan  -  ge     lin  -  gua  glo  -  ri    -    6    -    si    cor  -  po  -  ris    my  -  ste  -  ri  -    um, 


^-i~---^5— -=i-^^- 

■    ■    -     -^.^^ 

— ^- _- — x^ — ■ — _ _ — _ — 

— n 

^^  J — \—^ — *^^— 1 — ^ 

■ — 

._■ — ! — y — ^a — 

— fl 1 1 , 

1^^  '  A     '  •  ^  ' 

^  ■     -i^^     ■"   -^ 

_i^ 1 

^— li     ■          ■   ^    ■    ■     ■ 

■ ♦ a— 

■    ■    -     ■,■!!. 

gui  -  ni  -  sque  pre  -   ti  -   6    -    si,    quern  in    mun  -  di     pr6  -  ti 


um, 


GREGORIAN    CHANT. 


59 


fruc  -  tus     ven  -  tris     ge  -  ne  -  ro    -  si      Rex    ef   -  fii  -  dit  gen  -  ti  -um. 

This  is  one  of  the  best -known  melodies  in  chant,  and  yet  notice  the  dif- 
ference between  the  first  two  and  the  second  two  variations.  In  the  first  and 
second  examples  set  in  the  First  mode,  the  melodies  are  nearly  alike  as  long 
as  the  words  have  a  note  to  a  syllable  ;  but  when  the  neums  are  employed, 
how  different  are  the  ideas  of  the  editors  as  to  what  the  neums  really  mean 
and  how  they  are  to  be  set  to  the  words.  In  the  second  two  variations,  the 
melody  is  a  whole  tone  higher,  being  set  in  the  Third  vcvode,  and  the  variations, 
•both  in  the  melody  and  in  the  use  of  the  neums,  are  even  greater  than  in  the 
first  two.     This  is  not  a  solitary  example.     We  can  find  hundreds  of  others. 

The  following  are  the  forms  of  the  neums  with  their  names  and  approxi- 
mate rendition  in  modern  notes. 


Podatus. 


±Kti=td1 


— I- 


d— * 


-\ 


■^^ 


fast  -  er,  de  -  lay,   o  -  bey,  o  -  bey. 


Clivis. 


:fii 


7--^ 


r   H^  -^ 

s 

-^ 

-p- 

--^fl 

-j\z.   d   IS 

IS    ^ 

-J         V 

rm     ^    J 

J    J 

•      ^ 

IW ^ 

•    • 

^—^- 

L^- 

•~Tl 

fast  -  er,  de  -  lay,great-er,great-er. 


Porrectus. 


::^=tii:^=t 


V-T^-'^ 


1= 


^-^ 


-N-J 


:nA 


^^^ 


■^~:^ 


Ky  -  ri  -  e,  mer  -  ci-  f ul,   pu  -  ri-  fy. 


6o 


GREGORIAN    CHANT. 


Torculus. 


54 


■-h- 


^i=^:£t:5 


t: 


:t 


■^-=i: 


di  -vine-  ly,    a-cute  -ly,  se-rene-  ly,   se-rene-ly. 


Scandicus. 


fcrJ^f-^:^" 


Climacus. 


'♦-i-B^- 


t1^*- 


=E£=E^^ 


$:jj 


sem  -i-tone,  vo  -  cal-ly,  'mon-o-tone,  ter  -  ri-ble. 


^-^ 


4 


^-^h 


--4S 


i^zr^W 


for  -  ci-ble,  vo  -  cal-ly,  fol-low-ing,fear-ful-ly. 
Neums  Formed  by  the  Union  of  Two  of  the  Above:  . 

The  words  under  the  modern  notes  give  an  approximate  idea  of  the  wa); 
in  which  each  group  should  be  sung.  Sing  the  English  word,  and  ther 
vocalize  the  neum  to  the  syllable  to  which  it  is  set. 
Porrectus  flexus. 


Torculus  resupinus. 


-N — N \ 

-\ — I ^ 

i^* — ^ 


ob  -  ser  -  va  -  tion,  re  -  cre-a  -  tion. 


'■^'^ 


1^|-H- 


:Jt^^,d 


-t 


:t,*_ 


J 


in  -  ten 


si  -  fy,     Je  -    ru 


sa  -lem. 


Scandicus  flexus. 


szzmlzzp. 


-> 


¥ 


i-firtit^cji 


Climacus  resupinus. 


fc-fe"-? — ^iE-^  -iR 


#?^^ 


ttd 


R:=^P 


I'^t^. 


pe-ri-me  -  tral.  pen  -  i  -  ten  -  tial. 


-■dS-H^-H— 


^=^^1=-:^ 


•-^z 


ri  -  a-ble,     us   -  u  -   al  -  ly. 


GREGORIAN    CHANT. 


6t 


CHAPTER    XIII. 

ON   THE   ACCENTUATION    OF   THE    NEUMS. 

It  is  very  probable  that  the  origm  of  these  neums  may  be  traced  to  the 
habits  of  some  singers  who,  not  content  with  singing  what  is  written,  inter- 
ject other  sounds  which  do  not  belong  to  the  piece,  but  which,  by  constant 
repetition,  gradually  become  incorporated  into  it.  This  was,  of  course,  much 
more  likely  to  happen  when  musical  notation  was  extreniely  _Qbacure  and 
singing  by  ear  was  the  rule,  than  it  would  be  now  ;  but  even  now  numberless 
instances  could  be  quoted  where  changes  in  the  original  comjDOsition  intro- 
duced by  singers  have  become  the  accepted  \'ersion. 

To  illustrate  this  growth  of  the  neums  we  give  a  so-called  plain-chant, 
Tantum  ergo,  from  the  Solesmes  Liber  usualis,  and  the  original  tune  as 
written  by  Samuel  Webbe  : 


^. 


mrd. 


:ti: 


r=.==p 


i-tii^ 


tt=zrt=tzzif:i:b[:iz:^ 


:t= 


Pl^ 


^ 


=q=:-Tzri- 


p: 


■-d. 


~Pi 

■HPZt 


-H — 


a 


62 


GREGORIAN    CHANT. 


The  derivation  and  growth  of  the  neum  are  here  very  plainly  seen.  We 
also  see  the  development  of  the  neum  in  the  Solemn  chant  for  the  Preface,  as 
contrasted  with  the  Ferial  chant  : 


Ferial. 


A- 


:1: 


:Pi 


:t1: 


Ve  -  re     di  -  gnum  et     ju  -  stum  est      ae  -  quam  et      sa  -  lu  -  ta  -  re,  etc. 


■^ 


Solemn. 


H \- 


^-My-^ 


^zzy 


Per  Chri  -  stum  D6  -  mi-num  no-strum. 


^ 


HH^ — ■ 


And  in  the  Ferial,  Festal,  and  Solemn  Psalm-tones  : 


f: 


-"=1- 


ji^E^:^^^^ 


5 


]zziizn: 


!■**■■-■■ 


:q=i:zq:=. 


ni^5=..=5=^ 


-■_■_ 


1: 


-A-- 


■«^^5^^ 


jizion 


iif 


Tz5r 


:1 


Mi  -  se  -  re-re  me  -  i,  De-us,      secundum  magnam  miseric6r  -  di-am  tu- am. 

It  is  quite  evident  from  these  examples  that  the  neums  were  considered^ 
as  ornamental  forms,  or  turns  upon  one  note,  which  were  supposed  to  give 
greater  solemnity  to  the  chant.  We  have  many  proofs  of  this.  There  are 
the  solemn  and  the  simple  Te  Deum,  one  with  the  neums  more  developed  than 
the  other  ;  and  the  Ferial,  Semi-double  and  Solemn  Ordinaries  of  the  Mass 
are  distinguished  from  one  another  by  the  number  and  extent  of  the  neums. 

It  is  sometimes  taught  that  the  first  note  of  every  neum  should  be 
the  accented  note,  and  that  the  various  notes  of  the  neums  should  be  as 
long  as  any  other  notes  of  the  piece.     Both  these  ideas  are  erroneous.     As 


GREGORIAN    CHANT.  63 

we  have  seen,  the  neums,  being  but  developments  of  single  notes,  should 
take  up  very  little  more  time  than  the  notes  they  represent  ;  for  in  each 
neum  there  is  generally  one  note  which  is  salient  in  that  neum  because  of  its 
position  in  tJie  scale  of  the  mode.  There  is  also  an  old  rule,  "  Plures  chordae 
dum  una  nota  propertur";  as  it  is  clearly  impossible  to  sing  two  or  three 
notes  as  "one  note,"  the  meaning  of  this  rule  must  be,  to  singjthe  sounds, 
of  each  neum  as  nearly  as  possible  in  thejV';;//  it  takes  to  sing  one  note. 
The  idea  that  the  neums  must  be  accented  on  the.  first  note  only  is  absurd, 
because  this  rule  would  make  the  sJiapes  of  the  groups  govern  the  accentua- 
lion  of  the  melody,  rather  than  the  musical  value  of  the  sounds  of  which  the 
melody  is  made  up. 

We  need  only  examine  the  Tantum  ergo  quoted  in  this  chapter.  If  wc 
accent  the  first  note  of  each  neum,  we  make  ni>u^fa/se  musical  accents.  In 
the  example  of  the  Psalm  Miserere  (  Solemn  Chant  ),  the  accent  should  fall 
on  the  note  re  on  the  third  syllable  of  the  first  word,  and  not  on  do,  the  first 
note  of  the  neum  ;  in  niei  the  accent  is  ow  fa,  the  last  note  of  the  neum, 
because  it  is  evident  that/iz  is  the  principal  note.  It  does  not  matter  which 
view  we  take  of  the  melodies  of  this  chant.  Whether  we  consider  \.\\&  ferial 
as  a  simplification  of  the  solemn,  or  the  solemn  an  amplification  of  the  ferial, 
the  rule  holds  good  in  either  case. 

In  a  syllabic  chant  (a  note  to  each  syllable  )  the  accentuation  of  the  notes 
is  governed  entirely  by  the  accentuation  of  the  words.  In  a  chant  in 
which  neums  occur,  the  accentuation  is  governed  by  the  accent  of  the  words 
and  also  by  the  musical  accent  of  the  mode.  We  have  seen  in  Chapter  IX,  on 
Ithe  Characteristics  of  the  Modes,  how  each  sound  of  the  scale  has  certain 
tende}icies  depending  upon  whether  it  be  in  the  minor  or  major  mode. 
Each  of  the  Gregorian  modes  is  constructed  upon  similar  principles,  some 
of  its  sounds  being  sounds  of  rest,  and  others  sounds  of  progression  ;  and  it 
is  the  proper  observance  of  the  tendencies  of  the  various  sounds  that  consti- 
tutes nutsical  accent.  A  neum  placed  on  an  accented  syllable  will,  as  a 
whole,  receive  a  greater  force  of  accent  than  one  placed  on  an  unaccented 
syllable  : 


I 


— "-H- 


^--j— ^a— ■— "^ [■■^■-■-■-ji- 


Kx  -  ul  -  tet     or  -  bis  gau-di  -  is  Coe-lum  re  -  sul  -  tet     lau    -     di-bus. 


64  GREGORIAN    CHANT. 


4^ — J — I 1 — 'm-\-m-\~ 1 Fm^m—u — ■ — \] 

a  -  pos-to  -  l6-rum  g\6  -ri  -  am  tel  -  lus    et     a   -  stra  con     -    ci  -nimt. 

In  the  word  Exult  et  the  neum  on  ///  will  take  a  heavy  accent,  because  the 
accent  of  the  word  and  the  musical  accent  coincide.  The  same  rule  applies 
to  the  hrst  s)'llable  of  orhis,  Idudibus,  telliis,  dstni  and  concinant;  and  to  the 
second  syllable  of  resultet  and  the  fourth  of  apostolSnim.  The  remaining 
neums  are  sung  lightly  ;  a  slight  accent  only  being  given  to  the  salient  notes 
of  the  mode.  Of  these  we  will  now  speak  more  in  detail.  On  analyzing  the 
chord  formed  by  the  sounds  d-vi-s,  we  find  that  the  sounds  d-m  form  a 
major  third,  and  the  sounds  in-s  a  minor  third.  There  are  two  other  major 
thirds  in  the  scale :/-/ and  J*--/*.  As  a  major  third  is  always  made  up  of 
tivo  zvhole  tones  superposed,  it  follows  that  these  three  major  thirds  d-m, 
/"-/and  s-t  are  alike  in  construction  ;  consequently,  if  either  the  third  /-/ 
or  s-t  govern  the  melody  for  the  time  being,  it  is  treated  actual!)-  as  if  it 
were  a  d-ni  chord.  This  fact  is  taken  advantage  of  in  modern  music  in 
making  new  keys ;  the/-/ and  the  .v-/  thirds  becoming  the  d-ni  or  tonic 
third  of  the  subdominant  and  dominant  keys  respectively.  With  the  minor 
chords  the  case  is  different.  A  minor  third  is  always  made  uj)  of  a  tone 
and  a  semitone.  In  some  thirds  the  semitone  is  the  upper  member  and  in 
others  it  is  the  lower.  The  model  minor  third  is  l-d,  because  it  is  the 
minor  third  of  the  minor  iomc  chord  of  the  minor  mode.  The  third  r-f  is 
built  in  the  same  manner,  of  a  tone  with  a  semitone  above  it.  The  other 
minor  thirds,  m-s  and  /-/',  are  built  with  the  semitone  as  the  lower  mem- 
ber, and  they  are  really  only  ct)mplementary  thirds;  their  office  being  that 
of  upper  minor  third  to  a  major  chord. 

These  complementary  minor  thirds  always  have  a /i^?///;/^  semitone  ;  the 
others  have  a  rising  semitone.  In  a  musical  passage  whose  compass  is  a 
third,  the  first  and  third  will  have  preference  for  accent  in  ascending  pas- 
sages ;  thus  d  r  m  —  d  r  m;  mfs  — m  f  s;  and  not  d  r  m,  mf  s,  etc.  The 
middle  note  will  have  preference  for  accent  in  descending  jmssages 
■m  r  d,  s  f  m,  etc. 

In  a  melody  whose  compass  is  a  fifth,  the  fifth  may  be  considered  as  an 
enlarged  third  ;  the  middle  note  having  preference  for  accent  in  descending, 
and    the    first    and  fifth  in  ascending  passages.     Passages  of  a  fourth  are 


GREGORIAN    CHANT.  65 

treated  in  chant  as  a  third  with  an  extra  note  either  above  or  below ;  thus : 
s  I  d\  d  r f,  r  m  s,  mf  I,  are  thirds  with  an  extra  note  helozu,  while  /,  d  r, 
/,  r  m,  m  s  I,  are  thirds  with  an  extra  note  above.  We  have  seen  already 
how  an  extra  note  is  allowed  for,  both  above  and  below  the  scale  of  the 
mode.  We  now  see  that  we  may  have  an  extra  note  above  and  below  a 
third.  We  may  have  an  extra  note  also  above  and  below  a  fifth.  These 
extra  notes  always  have  a  preference  for  accent. 
These  rules  are  illustrated  below. 


Thirds. 


^ 


=— ■=P 


=1zzti 


:t=:-=Jt:t=-: 


-■H-i 


:Pi 


zizz:H=zy: 


^^ 


5th  with  extra  note 
ZJj  below  and  above. 


Ky    -    ri  -  e 


le-i-son.    gau-de-  a    -  mus. 


I 


4th 


■■""■" 


=F. 


■T 


:f 


t 


^^. 


4th. 


nzrzrj: 


■— d 


4th. 


3d. 


5th. 


3d.  4th. 


^=^~t 


-fl 


rH 


3cl. 


66 


GREGORIAN    CHANT. 


It  must  be  borne  in  mind  that  these  rules  of  accentuation  are  the  laws  of 
musical  truth.  Musicians  compose  their  melodies  and  observe  these  rules, 
consciously  or  unconsciously,  and  make  the  meaning  of  what  they  write 
apparent,  to  us  who  sing,  by  the  position  of  the  bars,  which  in  modern  music 
mark  the  accent.  In  Gregorian  Chant  our  position  is  very  much  the  same 
as  if  we  had  to  discover  the  accentuation  of  a  piece  of  modern  music  which 
had  neither  bars  nor  any  other  means  of  finding  the  accent;  but  in  this  case 
the  work  would  be  comparatively  easy,  because  we  should  only  have  to 
count  the  notes  off  in  twos  or  threes;  whereas  in  Chant,  which  has  no  time- 
rhythm,  we  must;  as  we  have  seen,  find  the  accentuation  of  each  individual 
phrase. 

We  will  now  study  the  accentuation  of  each  Mode  in  detail. 


CHAPTER    XIV. 


The  Accentuation  of  the  Modes. 
THE   FIRST   MODE.  - 

The  compass  of  the  First  Mode  is  from  re  to  r^';  extra  notes,  do  below, 
mi  above,  and  ta.  The  principal  notes  are  re,  fa,  la  and  ?r'.  The  melodies 
are  found  in  the  fifth  re-la,  built  up  of  the  minor  third  re-fa  (  rising  semi- 
tone )  and  the  major  third  fa-la;  and  in  the  fifth  fa-do\  built  up  of  the 
major  third /^-/rt  and  the  minor  third  la-do^  with  the  falling  semitone  ta. 
When  ti  is  not  flat,  it  is  a  rising  semitone  in  the  minor  third  ti-re^  of  the 
major  chord  s  t  r'. 
105. 


1    A 


-H>-||l 


Ro 


ra 


XA 


'-W-'- 


te 


de 


XA 


per 


^ 


1^ 


^1 


XA 


I  A 


A    A 


:^i::ifi-; 


:^:-i 


t 


et 


bes     plu  -  ant      ju 


stum 


pe  -    n 


GREGORIAN    CHANT. 


6r 


XA  4 


4^: 


A4 

-H  — 


AX    A 

1 


tur 


ter 


et 


ger  -  mi    -     net 


sal 


va  -    to 


rem. 


Re'  The  essential  notes  of  the  piece  which  may  be  considered  as  the 

DoU  fundamental  notes  of  the 'neums  are  marked  A.     The  word   Rorate 


Ti 


T 


<j>^-^^      shows  the  lower  fifth  with  the  two  extra  notes  do  and  ta.    'Gsli 
I  "La     desiiper,  are  included   in   the   major  chord   sol-ti-irK      Et   nitbes 
Sol   pluant jHStiim,  are  in  the  major  chord  f-l-d\  which,  having  the  ti 

—  Fa     flatted,  is  exactly  like  the  chord  do-vii-sol.      The  influence    of 
Mi     this  chord  continues  as  far  as  the  first  note  of  term.     The  remain- 

—  Re     der  of  the  piece,  commencing  with  \.\\e  first  note  of  terra,  is  in  the 
do    '  minor  chord  re -fa- /a,  with  the  extra  note  do.     Notice   also  the 

treatment  of  the  groups  made  up  of  fourths.  Th£  notes  marked  x  are 
accented  as  musical  2iCce.n\.s,  because  they  are  all /<2://£/^  notes,  and  this  ten- 
dency must  be  brought  out  rather  prominently. 

THE   SECOND    MODE. 

—  La  The  compass  of  the  Second  Mode  is  from  /«,  to  la;  being  derived 
Sol  from  the  first  tone,  its  Final  is  re.     Its  principal  chord  is  re -fa-la. 

—  Fa^  The  melodies  within  this  compass  are  treated  exactly  like  the  melo- 
Mi  dies  of  the  corresponding  compass  in  the  first  mode.     The  lower 

—  Re  I  fourth  is  generally  used  thus  :  /<■?,  do  re-re  do  la^,  a  minor  third  with 
j)o  an  extra  note.  The  extra  notes  sol^  (  below  the  lowest  note  )  and  ta 
Ti,  ( above  the  highest )  are  seldom  used.  In  the  following  piece  all  the 
La,  peculiarities  of  the  mode  are  shown  : 


106. 


pen  -  ti 


J^ 


i-qi 


et 


■? 


di 


xe 


q-zi 

runt, 


63 


GREGORIAN    CHANT. 


107. 


-    -jK ■ — ■ 


q; 


t. 


-q^ 


Quid         fa      -      ci      -      mus  qui     -      a  hie         ho    -  mo 


I     3 


3         1  14     I  I      3 


"ijszz^izzi: , — __ — a—- — P 

H^ — *H«— ■■ WT — Mj         a«  I— *■ — I   ,       ■- 


^H- 


■5 


ii: 


mul  -  ta      si  -  gna 

fa     - 

cit? 

si 

di   -  mi't 

-  ti  - 

mus    e  - 

um,  sic 

'         l2«"^ 

1 

1 

4 

1 

3 

Jm'4        ■■ 

— ■«- 

— 1 

■- — 

■■i-. 

--        4^4 

mnes         ere      -       dent  in 


um 


:±l'-: 


■^ 


jf 


et 


-■■h*« 


ent 


Ro 


ma 


:^ 


et 


:1" 

tol 


' 3 I 14     !      ! 4 ^1 


lent      no  -     strum  lo 


cum       et 


gen 


tem. 


On  the  words  "  Collegerunt  pontifices  "  we  have  all  the  lower  notes  of  the 
Second  Mode.  Notice  what  an  important  part  the  fourths  play  in  this 
mode:   l\  d  r,  rfs,   l^t^dr,   drf,    d  m  f,  f  I  ta. 

THE  THIRD    MODE. 


Mi' 
Re' 
Do' 


The  compass  of  the  Third  Mode  is  from  mi  to  w/'.     Its  Domi- 
nant is  day      Its  principal  notes  are  nii-sol-do\  an  inversion  of  the 


j:    j   major  chord  ;    built  up  of  the  minor  third  i)ii-soI  with  the  fallijig 
J         semitone,  and  of  Xh<t  fourtJt  sol-do\  which  is  generally  treated  as  a 

Sol 


i  minor  third,  hi-do\   with  an  extra  note,  sol.     The  melodies  never 

extend  above  the  highest  note  of  the  mode,  but  they  extend  below 

■jyr-  i  to  re.     Ta  is  sometimes    used,   but  not   so    often   as  in   the   First 

t  Mode. 
re 


GREGORIAN    CHANT. 


108. 


69 


Re -pie -a  -  tur      os    me-um    lau-de     tu 


al  -  le  -  111 


^-■1 


't 


-4 


:^=l 


»ii=p-=g=Vi^^jg^F'^^^^"gj-=^^wWi 


ut  pos-sim  can-ta    -    re,     al  -  le  -  lii    -    ia  :  gau  -  de-bunt  la  -  bi  -  a     me  -  a, 

_l_ 


r 


dum  can  -  ta 


ve  -  ro     ti 


bi,      al  -  le  -li'i  -  ia.       al  -  le  -  lu 


Repleatnr.  This  is  a  characteristic  commencement  for  pieces  in  the 
Third  Mode  ;  the  extra  note  re  and  the  Dominant  do^  are  the  accents. 
Notice  the  germs  of  two  changes  of  key  ;  on  the  first  allehiia  we  have  a 
suggestion  of  a  change  to  the  dominant  key  indicated  by  do^  falling  to  ti,  and 
on  the  words  ut  possiin  cantarc  a  change  to  the  subdominant  key. 

THE    FOURTH    MODE. 

As  this  mode  is  deriv^ed  from  the  Third  Mode,  it  has  the  same  Final.  Its 
compass  is  from  //,  to  //,  and  its  Dominant  is  la.  The  lowest  note  is  very 
rarely,  if  ever,  used.  The  compass  of  the  mode  is  therefore  practically  from 
do  to  doK  Its  principal  chords  are  m-  I  - d^  and  r-f-l,  both  minor  chords. 
The  most  characteristic  portions  of  the  melodies  are  contained  in  the  fourth 
m  -  /. 

Do' 
Ti    , 


La 

Sol 

Fa 
Mi 

re 

Do 

ti, 


109. 


■■rti^: 


:tt^- 


■d: 


lit-    ■= 


:-5t 


Kx  -  all  -  di   1)6  -  mi  -  ne     vo-cem   me  -  am, qua  cla  -  ma  -  vi     ad      te 


^: 


gz£^"^E5Z":^^_^::lz£,^--^-'-J=-S^E^ 


ad  -  ju  -  tor  me -us     e  -     sto,    ne    de  -  re  -  li'n  -  quas  me,       ne 


7°  GREGORIAN   CHANT. 


que    de  -   spi  -  ci  -  as       me,        De       -       us     sa  -  lu  -  ta    -    ris  me  -   us. 

THE   FIFTH    MODE. 

-Fa' 

Mi''  The  compass  of  the  Fifth  Mode  is  from  fa  to/cr'.     Its  domi. 

Re'  nant  is  rt'i^.     Its  principal  chord  is /«-/«- ^-^'-/c?'.     Pieces  in  the 

—  Do'^  fifth  mode  with  //  natural  are  very  rare.  An  example  will  be 
Ti  found  on  page  44,  under  the  Fifth  Mode.  When  ti  is  flatted, 
La  I  the  mode  is  the  modern  major  mode  ;  and  when  some  of  the  tts 
Sol,  are  flatted  and  some  natural,  the  naturals  are  treated  as  cJiro- 

—  Fa  matics,  just  as  the  sharp  fourth  is  treated  in  Modern  music. 

In  the  example  mentioned  above,  do,  being  the  Dominant,  will  carry 
the  principal  accent. 


^ 


Fi  -   li  -  ae     re    -     ffum 


I 


There  are  musical  accents  on  the  second  note  of  "  re-"  and  the  second  note  of 
"-gnm,"  because  they  change  what  would  be  practically  a  monotone  into  a 
melody,  and  because  we  naturally  emphasize  the  falling  tendency  of  re  and 
the  rising  tendency  of  //. 


^       ■ ■ ■  I        ■      I 1 H — W 

in      ho  -  no  -  re       tu  -    o 

The  principal  accent  on  honore  will  come  on  the  second  note  of  710,  because 
it  is  the  Dominant,  and  because  the  first  note  of  the  neum,  la,  is  really  a 
repercussion  of  the  previous  la.  A  musical  accent  falls  on  the  second  and 
fifth  notes  of  ^  (  in  "  tu-o"  ). 

It  will  be  noticed  that  the  melodic  phrases  are  generally  in  fifths;  the 
phrases  "Filiaeregum  in  honore  tuo,"  "dextris  tuis,"  "-rato  circumdata,"  being 
in  the  fifth  la-mi\  the  phrases  "astitit  regina,"  "in  vestitu,"  and  "  varieta-''  in 
the  fifth  sol-  re^ ;  and  the  phrases  "  de  -au-"  and  the  last  ten  notes  being  in 
the  M.ih.fa-doK     [  See  pp.  44,  45.] 


GREGORIAN    CHANT.  yi 

I  THE  SIXTH   MODE. 

The  compass  of  the  Sixth  Mode  is  from  do  to  do\    Being  derived 
—  ^^p'l       from  the  Fifth  Mode,  its  Final  is  fa,  and  its  principal  chord  is  do^- 
Ta|/^-^<^>   the  second  inversion   of  the  Q}c\oxdi  oi  fa- la- do.      Ti  is 
~  nearly  always  flatted.     The  phrases  of  the  mode  are  found  in  the 

lower  fourth  do -re -fa,  the  'h{X\\  fa  -  la  -  do\  and  the  fourth  fa- 


Sol 

Fai  ta. 

Mi  ! _^ 

Re  110-1  3  ~ir  _5 ]  I     3     1  !  r " !  5 

Do  ^  i-S a^a — «-^F« 


J^^;i=ii=Jc3z==_-t^-.zzirg-_rz;£T|^?jr.-".-^::|: 

Di  -  cit     Do  -  mi  -  nus,     e  -  go     c6  -  gi  -to     co  -   gi  -  ta    - 


I     I  5  ^ 


zil=±1iz^^tl»iKriiihi»iz:,^=iz^^.»:zr«i^»"Mi«=i 


ti-iz^  — ?z^i"z="r^  I"""— ^  j  Jz 


ti  -   6    -    nes  Pa       -      cis     et      non    af  -   flic  -  ti  -    6       -       nis 


— 1 —  *■—■—* — ■ — ■— J-l r^ — I — ■-}-■ — ■— ^—  I- 


in  -  vo  -  ca      -     bi  -  tis     me,  et    e  -  go    ex  -  au  -di  -  am       vos    et    re  -  du 


4  lis  I  5  I 

-t-H 1 fl ■ 1 r. 


cam  cap-ti  -  vi  -  ta  -  tern  ve    -  stram  de      cunc-tis        lo       -       cis. 

THE   SEVENTH    MODE. 

Sol'  The  comjjass  of  the  Seventh  Mode  is  from  sol  to  sol^;  its  principal 

—  Fa',  chord  is  sol  -ti  -  ye^-fa\  known  in  modern  music  as  the  chord  of  the 
"^^  Dominant  Seventh.      Its  principal  phrases  are  contained  in  the  fifth 

—  Re' I  sol-7-e\  in  the  fourth  do^-fa\  and  in  the  fourth  ir^-soP. 

Do'r 

—  Ti  ' 


La  I  I  1  1  1  .  5  I        !  4     I  4     ^ 

O    -    cu  -  li       6     -     mni  -um        in    te       spe     -  rant,  D6     -     mi  - 


72 


GREGORIAN    CHANT. 


:--i— :j: 


ne :  et    tu       das  il  -   lis  e  -     scam  in       te'ni     - 


I  4  I  I         ,4      II  4  L  4 

KL-=z;iP^i=ii=i-j=:ii"qii=izr— 1=^[^ 


:1 

po  -    re       op  -    por  -  tii       -       no. 


^^- 

y.  A  -     pe     -  ris  tu 


ma     -      num  tu     -     am :       et         im  -    pies  o  -  ume     a      -      ni   -  mal 


be  -  ne  -  di  -  cti  -  6 


THE    EIGHTH   MODE. 


Re' I  The  compass  of  the  Eighth   Mode  is  from   re  to  ;r'.     Being 

Do'  derived    from    the    Seventh   Mode,  its   Final  is  so/.      Its   principal 

'^^   '  phrases  are  contained  in  the  fourth   re -sol,  in  the  third  fa- la,  in 

I-a  I  the  fourth  sol  -  do\  and  in  the  fourth  la-rc\ 


SoK 

Fa 
Mi-  J^ 

Re     __ 


1  12. 


1 1 — fl — \        -I"  ■ — 

O  -  mnes  gen  -  tes     quas-ciim-que  fe  -  ci  -  sti,     ve  -    ni  -  ent, 

-   i  I  4  i 


^^^'•z'TV^E'l^-^^-  - 


et       a  -  do  -  ra-bunt    co  -ram    te,      13(3-  mi  -  ne,  et     glo-ri  -  fi  -  ca  -  bunt 


^ 


I        4, 


\) 


:  i'l 


-^^-^:^ii'^^^E^i^^^i. 


\i 


no-men    tu       -       um  ;     qu6 -ni  -  am  ma- gnus    es    tu,     et     fa -ci- ens  mi  - 


GREGORIAN    CHANT. 


73 


^^=i^=^^'^^^i^^-^^^^E^=^i 


ra  -  bi     -    li  -   a :     tu       es         De  -  us     so  -  lus,     al    -    le   -     lu 


CHAPTER    XV. 

The  Notation  of  the  Vatican  Edition  of  the  Liturgical  Chant  Book. 

In  the  Motu  Proprio  of  November,  1903,  His  Holiness  Pope  Pius  X 
ordered  the  restoration  of  the  Gregorian  Chant  to  its  legitimate  place  in  the 
services  of  the  Church  ;  and  in  furtherance  of  this  object  he  directed  that  a 
typical  edition  of  the  Liturgical  Chant  Books  be  issued  from  the  Vatican 
press.  The  "Kyriale,"  that  portion  of  the  "  Graduale ''  containing  the 
Ordinary  of  the  Mass,  is  the  only  one  which  has,  as  yet,  appeared.  The  Sacred 
Congregation  of  Rites  has  issued  a  decree,  a  copy  of  which  will  be  found  in 
the  Kyriale,  which  "  declares  and  ordains  that  the  aforesaid  edition  be  con- 
sidered by  all  persons  as  the  Standard  or  Norm";  thus  apparently  super- 
seding all  others. 

As  there  are  several  peculiarities  in  the  notation  used,  a  few  words 
of  explanation  are  necessary.  It  will  be  noticed  that  the  Fa-clef  is  seldom 
used ;  the  small  bars  are  placed  at  the  top  of  the  staff ;  leger-lines  are  used 
instead  of  changing  the  clef  ;  and  the  ilat  is  formed  differently  from  the  mod- 
ern flat.      All  these  peculiarities  may  be  observed  in  the  Gloria  of  Mass  II. 

In  the  "  Asperges  me"  [Page  1]  we  find  over  the  first  and  last  sylla- 
bles of  the  word  asperges  and  in  several  other  places  a  character  built  up  of 
tw(j  notes,  one  placed  above  the  other.  This  is  the  form  given  to  the  poda- 
tiis,  and  the  lower  note  is  sung  first.  Over  the  second  syllable  of  seciindiini 
and  over  in  ( scecula )  the  second  note  is  made  exceedingly  small.  This  is 
the  epiphonus,  or  liquescent  form  of  tho.  podatns.  It  is  used  when  the  sylla- 
ble ends  with  a  consonant,  or  when  a  syllable  ending  with  a  vowel  is  followed 
by  a  syllable  commencing  with  a  vowel.  In  the  "  Vidi  aquam  "  [Page  2] 
we  find  over  the  words  templo-&Xi(\.  pervenit  a  similiar  character,  but  reversed; 
this  is  the  ceplialicus  or  clivis  liquescens,  and  over  the  third  syllable  of  the  last 
alleluia  but  one  we  find  the  torenlus  liqueseens.  The  use  of  these  liquescent 
neums  is  to  enable  us  to  pronounce  the  words  properly  !  The  heavy  oblique 
line  with  a  note  above  it,  to  the  right,  is  \.\\q poirectns.     The  obUque  line  stands 


74  GREGORIAN   CHANT. 

for  two  notes  only,  one  at  the  beginning  and  the  other  at  the  end  of  the  line; 
so  that  the  first  three  examples  over  the  words  dextro  and  alleluia  are  d'^  s  I, 
If  s,  and  d^  / /,  respectively.  Over  the  last  syllable  of  the  first  Kyrie  in 
Mass  I  we  find  a  podatus  and  a  clmiacus;  the  double-note  formed  by  the 
meeting  of  these  two  neums  is  called  2.p7-essus.  Examples  will  also  be  found 
over  the  last  syllable  of  the  second  and  third  Kyrie.  Over  the  first  syllable 
of  templo,  latere,  aqua,  and  salve  in  the  "  Vidi  aquam,"  we  find  a  character 
formed  of  two  notes  close  together  bb,  the  bistropJia;  and  in  the  "  Asperges" 
over  the  first  syllable  of  Amen  we  find  abb,  the  tristropJia.  The  single 
note  before  the  bistropha  over  teniplo,  latere,  and  salvi  is  called  the 
apostropJia.  In  the  Solesmes  edition  these  notes  appear  as  diamond  notes 
of  a  somewhat  modified  form.  In  the  "Asperges,"  over  the  first  syllable  oi 
Domine,  we  find  a  group  of  three  notes,  the  second  of  which  is  denticulated 
at  the  top  and  bottom.  This  group  is  called  the  quilisma.  There  is 
another  note  which,  however,  is  very  seldom  used  ;  it  is  called  the  oriscus, 
and  its  place  is  after  a  neum  on  the  same  degree  as  the  last  note  of  the 
neum.  Examples  will  be  found  in  Mass  I,  last  note  of  {glorificamus)  te, 
and  in  the  "  Benedictus  '"  of  the  same  Mass  over  the  second  syllable  of 
excelsis. 

Learned  treatises  explanatory  of  this  notation  have  appeared  from  time 
to  time,  from  which,  up  to  date,  we  gather  the  following  information. 

A.  says  : 

"All  the  notes  have  the  same  duration^ 

"  All  the  notes  have  approximately  the  same  duration." 

"  A  theme  composed  of  equally  long  notes  is  conceivable. " 

B.  says  : 

"The  different  tones  are  to  be  sung  equally  long." 
"Much  less  can  we  favor  the  practice  of  giving  all  the  notes  exactly  thej 

same  duration." 

"  In  neumatic  songs  where  the  melody  is  quite  independent  of  the  text! 
there  can  be  no  objection  to  giving  the  notes  the  same  length.  But  inj 
syllabic  chants  where  the  text  still  has  great  influence  it  will  be  well  toJ 
yield  somewhat  to  the  present,  though,  perhaps,  vitiated  taste  by  discarding 
strict  equality  of  tone-duration." 

"Though  the  tones  are  of  equal  duration,''  etc. 

C.  says  : 

"Though  the  notes  have  the  same  form,  it  must  not  be  supposed  that 


GREGORIAN    CHANT. 


75 


ey  have  the  same  value.  On  the  contrary,  the  value  of  the  single  notes  is 
;ry  variable,  and  is  determined  by  the  length  of  the  syllables  to  which  they 
e  joined." 

The  very  latest  word  is  :  "  The  notes  are  of  the  same  length,  the  tones 
e  not  always  of  the  same  length." 

They  all  seem  to  agree,  however,  that  the  note  with  a  steAi  is  not  a 
iger  or  a  louder  (  accented )  note,  but  only  a  higher  one.  As  the  argu- 
snt  is  rather  amusing,  we  quote  it  :  "  The  acute  accent  of  speech  when 
■itten  as  a  musical  note  naturally  assumes  the  form  of  an  upward  gesture 
the  hand  ;  the  grave  accent,  that  of  a  downward  gesture.     The  one  sig- 

fies  a  raising  of  the  voice,  and  the  other  a  lowering  thereof They 

ew  a  red  line The  punctum  at  once  took  its  place  upon  the  line 

above  or  below  it  ;  its  position  was  clear  from  the  first.  Not  so  with  the 
rga;  placed  upon  a  line,  its  position  w^as  quite  indefinite.  In  order  to 
termine  its  position,  they  simply  put  a  dot  at  the  top  of  the  bar ;  the  vir- 
'  and /';/;/c/'<:7  then  appeared  on  the  line  as  in  the  relation  of  higher  and 
ver  notes.  The  virga,  therefore,  is  not  long  ;  but  it  is  a  relatively  high 
te." 

Now,  in  the  first  place,  w^e  do  not  write  musical  notes  to  represent 
eech.  The  essential  difference  between  speech  and  song  is  that  in  song 
2  sounds  have  a  definite  pitch,  and  in  speech  they  have  not.  Secondly,  as 
natter  of  fact  a  speaker  naturally  brings  his  hand  dozvn  when  he  wishes  to 
iphasize  a  word.  Thirdly,  in  oratory,  to  raise  or  to  lower  the  voice  does 
t  necessarily  mean  to  raise  or  lower  the  pitch  in  a  musical  sense  ;  but  to 
eak  louder  or  softer.  To  sum  up  :  The  vij-ga  represents  the  acute  accent 
speech  ;  the  acute  accent  of  speech  is  louder  but  not  necessarily  higher  ; 
d  as  the  acute  accent  of  Latin  ( the  tonic  accent )  is  long  in  quantity,  the 
-ga  must  represent  a  longer  (  quantity  )  and  louder  (  accent )  tone, —  as  has 
vays  been  taught  in  Plain-chant. 

The  oriscHS,  apostropJia,  bistropJia,  tristropha  and  quilisvia  are  characters 
lose  meaning  is  absolutely  unknown.  They  represented  some  trick  of  vocal- 
a,  or  ornamental  group  of  some  kind,  which  could  be  learned  only  from  a 
ing  teacher.  At  present  we  are  told  to  sing  the '  oricns  and  apostropJia 
e  any  other  single  note,  the  bistropha  twice  the  length,  and  the  tristropJia 
■ee  times  the  length  of  a  single  note  ;  and  the  first  note  of  the  quilisma  is 
be  somewhat  lengthened  and  the  second  note  shortened. 


INDEX 


Absolute  Pitch 

Accentuation  of  Modes 

Accentuation  of  Neums 

Apostropha 

Authentic  Mode 

Bars 

Bistropha 

Cephalicus 

Chant,  Dialects  of 

Rendition  of 
Characteristics  of  Modes 
Chord  of  Dominant  Seventh 

Major 

Minor 
Clefs 

Changes  of 
Climacus 
Clivis 

Cords,  Vocal 
Dialects  of  Chant 
Dominant 

Seventh-chord 
Epiphonus 
Final 
Flat 

Signature 
Growth  of  Neums 
Guide 

Inflection,  Rising 
International  Pitch 
Interval 
Intonation 
Irregular  Tone 
Larynx 
Latin,  Pronunciation  of 

Exercises  in 
Legato 
Leger-line 
Major  Chord 


I 

Mathematical  Pitch 

66 

Mediation 

6i 

Melody 

74 

Minor  Chord 

36 

Modes,  Accentuation  of 

.   10 

Authentic 

74 

Characteristics  of 

73 

Gregorian 

58 

Plagal 

57 

Table  of  First  Eight 

38 

Transposed 

46 

Motu  proprio 

36 

Natural 

41 

Neums,  Definition  of 

7 

Accentuation  of 

10,  23 

Growth   of 

60 

Notes,  Definition  of 

59 

Reciting 

27 

Shapes  of 

58 

0  rise  us 

38 

Perigrine  Tone 

46 

Pitch 

73 

Plagal  Mode 

36 

Pneumae 

18 

Podatus 

22 

Porrectus 

62 

Pressus 

10 

Pronunciation,  Latin 

53 

Exercises  in 

I 

Psalmody 

3 

Psalm  tones.  Ferial 

50 

Festal 

56 

Table  of 

27 

Quilisma 

II 

Reciting-note 

1-.  13 

Registers  of  Voice 

34 

Relative  Pitch 

25 

Rendition  of  Chant 

36 

Rising  Inflection 

76 


INDEX 


77 


Scale 

Scandicus 

Semitone 

Signature,  Flat 

Staccato 

Staff 

Steps  in  Choir-training, 

First 

Second 

Third 

Fourth 

Fifth 


60 


34 


Table  of  First  Eight  Modes 

Transposed  Modes. 
Termination 
Tone,  Irregular 
Torculus 
Tritone 
Tristropha 
Vatican  Edition 
Vocal  Cords 
Voice,  Registers  of 
Voice-training  Exercises 


PAGE 

37 
48 

50 
56 
60 
18 
74 
73 
27 
28 
6,  S,  17,27 
3I'  32r  33 


